iU 



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Hi.K'-'. 







How to 
p. , „^ Amuse 

■feISm \burself 

and 

Others 



mm and 







The:Ameri6an:Girls 

,Cf*HANDY:BOOK- 




BY 

Lina Beard 
arid 

Adelia B.Beard 



NewYork 



Charles 
-_.Scribner's 








17 1887 'j 



Qv 



\2o\ 
36> 



Copyright by 
CHARLES SCRIBNER'S SONS 



TROW'9 

PRINTING AND BOOKBINDING COMPANY, 

NEW YORK. 



PREFACE. 



** I DO wish some one would write a book like that for 
girls," is the remark we have frequently heard when a new 
book of sports for boys has made its appearance ; but it was 
not until the publication of the " American Boy's Handy 
Book " that it occurred to us to write a book for the Ameri- 
can boy's neglected sisters, which should be equally original 
and practical. 

In the " Girl's Handy Book," which it has been our en- 
deavor to make peculiarly American, we have sought to intro- 
duce original and novel ideas, and by their aid to open new 
avenues of enterprise and enjoyment. 

One of our objects is to impress upon the minds of the 
girls the fact that they all possess talent and ability to achieve 
more than they suppose possible, and we would encourage a 
belief in the truth of the remark said to have been made by 
a famous Frenchman : " When you Americans undertake any- 
thing you never stop to ascertain if it be possible, you simply 

We desire also to help awaken the inventive faculty, usually 
uncultivated in girls, and, by giving detailed methods of new 
work and amusements, to put them on the road which they 
can travel and explore alone. 



iv Preface. 



We know well the feeling of hopelessness which accompanies 
vague directions, and, to make our explanations plain a»d liicid, 
we have ourselves, with very few exceptions, made all of the 
articles, played the games, and solved the problems described. 

The materials employed in the construction of the various 
articles are within easy reach of all, and the outlay, in most 
cases, little or nothing. 

We scarcely deem it necessary to point out the fact that in 
supplying healthy, sensible work and amusement for leisure 
hours, employment is given whose whole tendency is to refine 
the tastes and ambitions of our American girls. 

A few of our chapters are taken from articles which were 
written by us for, and published by, the Youth's Companion, 
St. Nicholas, Harper's Young People., Golden Days, and Wide 
Awake. 



^Ci-'^'i ^0 



CONTENTS. 



PREFACE 

SPRING. 



CHAPTER I. 
First of April 3 

First of April Party, 5 ; Mirror Tableau, 6 ; Noah's Ark Peep-show, 8 ; 
The Supper, 10. 

CHAPTER n. 

Wild Flowers and their Preservation 13 

Transplanting Wild Flowers, 14 ; Cut Wild Flowers, 15 ; Sending Flow- 
ers by Mail, 15 ; Preserved Flowers, 16 ; Pressed Flowers and Leaves, 

18 ; Leaves and Ferns for Decoration, 19 ; Color of Flowers Changed, 

19 : Natural Wax Flowers, 20 ; To Freshen Cut Flowers, 20 ; Crystal- 
lized Flowers, 21 ; How to Preserve the Perfume of Flowers, 21 ; Spring 
Flowers in Winter, 23 ; The Four-leaved Clover, 23 ; Several Methods 
of Preserving Flowers, 24- 

CHAPTER IIL 

The Walking' Club 27 

Rules to be Observed, 31. 

CHAPTER IV. 
Easter , 33 

Easter Customs in Other Lands, 33 ; Easter Egg Games, 36 ; Easter Egg 
Dolls, 39 ; Humpty Dumpty, 42 ; Miss Rolly-poly, 45 j Mandolin, 47 ; 
Maple-wax Easter Eggs, 49 ; Bonbon Box, 49 ; Easter Cards, 50 ; Lit- 
tle Quakeress, 52. 



vi Contents. 



CHAPTER V. 

PAGE 

How TO Make a Lawn-Tennis Net „ 55 

Rules for Lawn-Tennis, 63. 

CHAPTER VL 

May-Day 71 

May-day Sports, 72 ; How to Make May-baskets, 74 ; May-day Combat, 
75 ; The May-pole, 77 ; May-pole Dance, 79. 



SUMMER. 



CHAPTER VIL 

Midsummer Eve 83 

The New Fern-leaf Game, 85 ; Fortune-telling : The Plaintain Test, 86 j 
Fortune's Wheel, 88. 

CHAPTER VHL 

Sea-side Cottage Decoration 91 

Window Decorations, 92 ; Row-boat Book-shelves, 95 ; Crab-net Work- 
basket, 96 ; Hat-rack, 98 ; Marine Screen, 99 ; Horseshoe-crab Bag, 
102 ; Sea-urchin Vase and Candlestick, 102 ; How to Dry Starfish and 
to Polish Shells, 104. 

CHAPTER IX. 

A Girl's Fourth of July 105 

Interior Decoration, 107 ; In-door Illumination, 108 ; Out-of-door Decora- 
tion, 109 ; Fireworks, ill ; Parachute, 112; Thunderbolts, 112 ; Whirls, 
and Winged Fancies, 113; Pin- wheels, 114; Bombs, 115; Declaration 
of Independence, 117 ; Toss, 118 ; Fourth of July Jackstraws, 119 ; Pro- 
gressive Mining, 119. 



Contents, vii 

CHAPTER X. 

PAGE 

Printing from Nature's Typ^s 123 

Impression Album, 123 ; Winter Landscape, 127. 

CHAPTER XL 
Picnics, Burgoos, and Corn-roasts 131 

A Burgoo, 132 ; Burgoo Stew, 133 ; A Corn-roast, 134. 

CHAPTER Xn. 
Botany as Applied to Art 139 

The Peony Leaf, 140 ; A Bunch of Turnips, 142 ; Plant Cross-section De- 
signs, 144 ; Flower Sprays, 146 ; Changing the Color, 146 ; Burs, 147 ; 
The Water-Lily, 148. 

CHAPTER XIIL 

Door-step Party and Quiet Games for Hot Weather 151 

Five Minutes' Conversation, 153 ; Blind Man's Singing-school, 155 ; A 
Game of Noted Men, 155 ; What Will you Take to the Picnic? 156 ; 
Assumed Characters, 157 ; Shadow Verbs, 157. 

CHAPTER XIV. 
How to Make a Hammock 159 

Materials, 161 ; Barrel Hammock, 165. 

CHAPTER XV. 

(For Little Girls.) 
Corn-Husk and Flower Dolls 169 

CHAPTER XVL 
How to Make a Fan 177 

Butterfly Fan, 178 ; Mikado Fan, 180 ; Daisy Fan, 182 ; Cardboard Fan, 
183. 



viii Contents, 



AUTUMN. 



CHAPTER XVIL 

PAGE 

All- Hallow- Eve 187 

Halloween Parties, 189 ; Melted Lead, 190 ; Nutshell Boats, 192 ; ** Three 
Luggies," 193 ; Roasting Nuts, 193 ; Kaling, 194 ; The Magic Mirror, 
194 ; Three Tin Cups, 195 ; The Ring Cake, 195 ; Bobbing for Apples, 
196 ; The Ghostly Fire, 197 ; The Fairy's Gifts, 198. 



CHAPTER XVIII. 
Nature's Fall Decorations and How to Use Them 201 

Fresh Autumn Wild Flowers, 202 ; Buckeye Portiere, 204 ; Panel of Fall 
Decorations, 205 ; Louis Quinze Screen, 206 ; A Panel of Field Corn, 
209 ; Ornamental Gourds, 210 ; Gourd-Dippers and Bowls, 211 ; Vases, 
212 ; Small Decorations, 214 ; Brackets, 214. 

CHAPTER XIX. 
Nutting-Parties 217 

"Little Brown Squirrel," 218; Rules for Nutting- Parties, 221. 

CHAPTER XX. 
How to Make a Telephone 224 

CHAPTER XXL 
How to Draw 229 

CHAPTER XXIL 

How TO Paint in Water-Colors 238 

Materials for Water-Color Painting, 238 ; Flowers, 239 ; Landscapes, 241 ; 
Painting from Notes, 244. 



Contents, ix 



CHAPTER XXIII. 

PAGE 

How TO Paint in Oil-Colors 249 

Materials, 249; Mediums, 251; Canvas, 251; The Light, 252; Setting 
the Palette, 253. 

CHAPTER XXIV. 
How to Model in ClAy and Wax 257 

Materials, 259 ; How to Manage Clay, 260 ; Hints for Modelling a Head, 
262 J How to Model in Wax, 263 ; Modelling-wax, 263. 



CHAPTER XXV. 
How to Make Plaster Casts 267 

CHAPTER XX VT. 
China Painting 272 

List of Materials, 272 ; A Monochrome Painting, 278 ; Tintmg, 278 ; New 
Method of Decorating China, 279 ; Tracing, 280 ; Mottled Grounds, 
281 ; Snow Landscape, 281 ; How to Paint a Head on China, 284 ; How 
to Paint a Carp, Sea-weed, and Fish-net, on China, 287 ; Foliage on 
China made with a Sponge, 289 ; Mixing Colors, 289 ; Royal Worcester 
Ware, 290. 

CHAPTER XXVn. 

A Chapter on Frames 295 

Marine Picture Frame, 296 ; Decorated Frame, 297 ; Frame Covered with 
Tin-foil, 298 ; Cork Frame, 299. 

CHAPTER XXVIIL 
Thanksgiving 302 

Impromptu Burlesque Tableaux, 304 ; Landing of the Pilgrims, 305 ; First 
Harvest, 307 ; Devastation by the Indians, 308 ; The Revolution, 309 ; 
Slavery, 310; Rebellion, 310; Peace and Plenty, 310; The Game of 
the Headless Turkey, 312 ; A Suggestion, 313. 



Contents, 



WINTER. 



CHAPTER XXIX. 

PA6S 

Christmas Festivities and Home-made Christmas Gifts 317 

Julklapp, 319 ; Polish Custom, 320 ; The Bran Pie, 321 ; The Blind Man's 
Stocking, 321 ; Home-made Christmas Gifts, 322. 

CHAPTER XXX. 
Amusements and Games for the Christmas Holidays 334 

New Game of Bubble Bowling, 335 ; Biographical Nonsense, 339 ; Comic 
Historic Tableaux, 341 ; Living Christmas Cards, 342. 

CHAPTER XXXI. 
New Year's and a Leap Year Party 347 

Pantomime of an Enchanted Girl, 348. 

CHAPTER XXXIL 
Home Gymnasium 353 

Course of Exercises, 356. 

CHAPTER XXXIIL 

A Decorative Language 364 

The Field and the Points of Heraldry, 366 ; Divisions, 367 ; Colors, 369 j 
How to Make a Design in Decorative Language, 371 j Book-plates, 377 ; 
Floral Vocabulary, 377. 

CHAPTER XXXIV. 

A Few Items on Old-fashioned Needlework, with Some New and 
Original Patterns 380 

Plain Sewing, 380 ; Button-holes, 383 ; How to Patch, to Sew on a But- 
ton, and to Mend a Kid Glove, 386 ; Fancy Stitches, 387 ; Drawn Work, 
389 ; Applique and Original Designs for Portieres, 391 ; Lace, 393 ; 
Ribbon Embroideries, 393. 



Contents, xi 



CHAPTER XXXV. 

PAGE 

Scrap-book and Home-made Book-covers 395 

Mother Goose Scrap-book, 395 ; Transformation Scrap-book, 398 ; An 
Album, 400 ; Home-made Book-cover, 401. 

CHAPTER XXXVI. 
A Heap of Rubbish and What to Do with It 403 

The Mirror, 404 ; The Table, 406 ; Lantern, 408 ; A Music Roll, 410 ; 
Work-basket, 411 ; Key and Button-hook Rack and Paper Weight, 412. 

CHAPTER XXXVII. 

How TO Make Attractive Booths at a Fair — A New Kind of Grab- 
bag 413 

The Tables, 413 ; Flowers for Decorations, 417 ; The Months, 420 ; 
The Five Senses, 421 ; Walls, 423 ; Grab-bags, 423 ; The Lady of the 
Lake, 425 ; Fortune's Wheel, 426 ; Rag-balls, 427. 

CHAPTER XXXVIIL 

Window Decoration 429 

Oriental Windov^^-shade, 430 ; Ribbon-curtain, 430 ; Drapery of Very 
Small Scraps, 431 ; Painting Window-panes, 432 ; Painting on Lawn, 
434 \ To Imitate Stained Glass, 435 ; Windows of Imitation Ground 
Glass, 436. 

CHAPTER XXXIX. 
Furniture, Old and New 438 

The Bookcase, 439 ; The Chair, 441 ; The Bedstead, 444 ; A Dressing- 
table, 444 ; Washstand, 446 ; A Hall Seat, 447 ; Window Seat and 
Book-shelves, combined, 448. 



CHAPTER XL. 
Something about Mantle-pieces and Fire-places 451 



xii Contents, 



CHAPTER XLI. 

PAGE 

Home-made Candy 458 

Peanut Candy, Butter Scotch and Molasses Candy, 459 ; Walnut and Fruit 
Glace, 460 ; Marshmallow Paste, 460 ; Chocolate Caramels, 461 ; Pop- 
corn Balls, 462. 

CHAPTER XLII. 

Saint Valentine's Day 464 

Valentine Party, 465. 



The American Girl's 
Handy Book. 



CHAPTER I. 




FIRST OF APRIL. 



HIS is the children's own day, and 
no assumption of dignity on the 
part of their elders can deter them 
from exercising'the privileges granted 
to them by acknowledged custom and 
precedent. 

"April fool! April fool!" cries 
my little nephew, as he dances with delight to see his aunt 
walk out of the room with a piece of white paper dangling 
from a hooked pin, attached to her dress. 

*' April fool ! April fool ! " shout the children in the street, 
thus announcing the success of some practical joke. 

"April fool ! " laughs everyone at the table, when some un- 
fortunate bites into a brown, wholesome-looking cruller, only 
to find it a delusion and a snare, the coat of a cruller, but the 
inside of cotton. 

" April fool ! April fool ! " is what even the little sparrows seem 



4 Spring. 



to chirp, as with a " s-w-h-e-r-r " they sweep down from the 
tree and, frightening away the kitten, take forcilDle possession of 
her bone. What does all this mean ? Why is the first day of 
April called ** All-Fools-Day," and when or where did the 
custom of the day originate ? Who can tell? No one seems 
to know. Even the derivation of the word April does not ap- 
pear to have been "definitely settled, and this saucy month, with 
her mischievous tricks and pranks, her surprises and mysteries, 
fools and puzzles our wisest men. 

Through many centuries the observance of All-Fools-Day 
has descended to us. In many climes and many countries this 
day is chosen as the proper time for playing tricks on the un- 
suspecting. 

" Festum Fatuorum," or ''Fools' Holiday," is what it was 
called in England at the time of the arrival of the early Christians 
in that country. 

Easily caught like the mackerel, which are plentiful on the 
French coast in April and are said to be deficient in understand- 
ing, the April fool in France derives his name from that 
fish, and is called " Poisson d'Avril " or ''April Fish," and 
again, " Silly Mackerel." From the cuckoo, a bird that does not 
know enough to build its own nest, the appellation of " gowk " 
is taken, and is given to the foolish one in Scotland who allows 
himself to be duped on this day. 

In India at the festival called Huli Festival held on the last 
day of March, the natives make merry at the expense of their 
friends, just as we do, and their fool is called " Huli Fool." 

So in the East and in the West, in the North and in the South, 
in the oldest nation as well as the youngest, is this ridiculous 
custom observed, and, as if to make it still more ridiculous, no 
one apparently knows why. 

Now, girls, since this holiday has descended to us from so far 
back that its origin appears lost in the dim twilight of past ages, 



First of April, 



there surely must be some reason for its existence, and that reason 
may be, that ** a little nonsense now and then is relished by the 
wisest men," and is therefore wholesome as an occasional diet. 
So why not help to perpetuate it ; not with rude, practical jokes, 
but with comical surprises, and absurd, but unembarrassing, sit- 
uations. Much harmless fun can be derived from the privileges 
of this day, devoted as it is to nonsense, and we introduce the 
April Fool Party as an excellent means of concentrating the 
fun, and furnishing plenty of merriment to the young folks who 
are bent on having a good time. 

First of April Party. 

I remember, when quite a little girl, I was granted the privi- 
lege of celebrating my birthday, which came on the 1st of April, 
with a candy-pull, and a few days previous to the event I 
started joyfully off to invite my friends. The invitations were 
laughingly given and accepted, and it did not occur to me that I 
would be suspected of playing a joke, although the party was 
to be on April-Fools-Day. It seems, however, that my good in- 
tentions were doubted, and the children were undecided whether 
to come or not. I had begun to suspect that a joke was to be 
played on me by their all remaining away, before they finally 
arrived in a body, having taken the precaution of coming in 
that way, so that if the party were a hoax they would all be 
fooled together. 

I relate this incident that warning may be taken from my ex- 
perience, and that it may be understood how important it is to 
make the guests invited to your First of April party realize that 
the invitations are given in good faith, and that your friends 
are expected to be on hand at the appointed time. 

It is well, in giving a party of this kind, to have the whole 
programme laid out beforehand, so that everything may go 
smoothly and nothing be forgotten. 



spring. 



The few methods of April fooling given here need not con- 
stitute the whole entertainment ; the list may be added to by 
the young hostess, who will, no doubt, have many ideas of her 
own to carry out. We will head our list with the 

Mirror Tableau. 

This novel tableau is made ready in the following manner : 

In a door-way, or bay-window draped with fuU curtains, 
place a large mirror. Instead of having the curtains suspended 
from the usual pole, it is best to stretch a wire across the space 
and slip the curtain-rings upon that, as they will slide more 
readily on the wire ; and when it is time to draw back the dra- 
pery it should be done quickly. A table placed before the cur- 
tains will serve as a barricade, keeping the too curious from tak- 
ing a peep at the hidden mysteries before they are ready to be 
revealed. 

At the time selected, remove the table, and request all those 
desiring to see the tableau to arrange themselves in front of the 
curtain, and to remain perfectly quiet, as any movement will dis- 
turb those taking part. 

If the front rows of the audience can be induced to kneel or 
sit upon the floor, those in the rear can obtain a better view, 
and it will, at the same time, make the group more effective. 
When perfect quiet is obtained, give the signal to your assistant, 
who must stand opposite to you at the side of the curtain, and 
with her help quickly draw aside the draperies, thus disclosing 
the tableau of a group of young people, motionless, gazing into 
the mirror with eager and expectant eyes. For an instant the 
audience will be held spell-bound, scarcely realizing that they 
themselves are forming the pretty tableau. 

*' We are April Fools," written with soap on the mirror near 
the top, as shown in the illustration, tells what character the 
actors are assuming, and gives a name to the tableau. 



First of April, 




The Mirror Tableau. 



8 Spring. 



During the interval which should be allowed to intervene 
before introducing the next thing on the programme, the guests 
will find amusement in the many harmless practical jokes which 
are awaiting the unwary in all manner of places. 

For instance, some boy will print APRIL FOOL in large 
white letters on his own back, by simply resting for a moment 
in a convenient chair upon whose snowy tidy the dreaded words 
have previously been printed backwards with white chalk. On 
the dark woolly surface of the coat, the white letters will be 
perfectly transferred, and the boy, little knowing what he has 
done, or the cause of the merriment, will join in the general 
laughter his appearance creates. 

A treacherous divan can be provided by removing the top 
of a low, flat packing-box, and putting in its place brown wrap- 
ping-paper, tacking it down around the edges of the box. 
With a piece of drapery thrown over it, entirely concealing the 
box, and sofa pillows placed upon it, leaning against the wall, 
the divan looks exceedingly comfortable and inviting. But woe 
unto the person who mistakes appearances for reality, for to at- 
tempt to sit upon this seeming substantial couch is but to break 
through and sit upon the floor instead. 

The box used for the divan should not be more than twelve 
inches high, so that the fall will be only funny, not dangerous. 

The next diversion may be a 

Noah's Ark Peep-show. 

Make the peep-show of a box about two and a half feet 
long and one foot and a half high. Remove the top and both 
of the end-pieces (Fig. i). Cut from pasteboard a slide to 
exactly fit the box, and place it in the middle, thus cutting off 
the view from either end, as shown in Fig. i. Make a curtain 
in two pieces, and tack them around the upper edge of the 



First of ApriL 



9 




box, letting them meet at each 
end. Stout pieces of twine, 
stretched across the openings at 
the ends of the box, will serve to 
attach the drapery at these points. 
Almost any kind of material will 
answer for this purpose, provided it 
is not too thin and is of some bright 
hue, for the peep-show should be 
made to look as gay as possible. 
Place the box upon a high stand, 
and so arrange it that a strong 
light will shine down into it, making 
the interior, from end to end, per- 
fectly light. 

From a list, previously prepared, of the animals supposed 
to be on exhibition, read the first two, and invite two per- 
sons, a girl and a boy, for instance, to look into the peep-show. 
We will suppose that the first animals on the list are the raven 
and the dove. Inform your would-be audience that you have 
two of Noah's special pets to show them ; that from the girls' 
point of view will be seen a raven, and from the boys', a dove. 



iilllilllil l iii i lillli i il li l l llillll l illlllliiiilllillli l llilPl i liiiiiilllllllHI 

Woah's Ark Peep-show, 



lo spring. 



When taking their places at the box, one at each end, the two 
spectators must part the curtain, and, putting their faces be- 
tween, hold the drapery together under their chins. This is 
to keep the remainder of the company from obtaining a glimpse 
into the wonderful show before their turns arrive. 

When all is ready, and the two wondering faces are hidden 
between the folds of the peep-show curtains, with the words, 
"■ Behold the pretty dove, and the mischievous raven," remove 
the slide, and expose to the astonished gaze of each spectator a 
companion's familiar face at the opposite end of the box. Of 
course, upon retiring from the show, its secret must be kept, 
otherwise the joke will be spoiled for those whose turns are yet 
to come. 

Before the next two take their station at the box, replace 
the slide and pretend to rearrange the show, to divert the sus- 
picion that the box is empty. 

The Supper 

r 

can be made the means of perpetrating many practical jokes. 
The shams must be so intermingled with the real delicacies that 
one can never be sure what the consequences may be of par- 
taking too rashly of even the most tempting-looking morsel. 

Small blocks of wood covered with batter and browned in 
the oven are excellent imitations of cakes. Dainty confection- 
ery, in crimped papers, can be made of small radishes covered 
with icing of different colors. Button-moulds coated with choc- 
olate will readily be mistaken for candy. 

If a small pasteboard pili-box is first filled with flour, and 
the top then covered with tissue-paper pasted down around the 
edges, it will look, when iced, like a delicate little cake, and 
will cause much merriment when anyone bites into it ; for the 
moment the paper cover is broken the flour will fly in every 



First of April, 



II 



direction. The fertile brain of girls, on mischief bent, will sug- 
gest many more frauds of this kind, and enough surprises may- 
be prepared to make the supper as merry as anything else on 
the evening's programme. 

Before leaving this subject, once more let the caution be 
given to keep the jokes entirely harmless. It is only poor fun 
that can be obtained at the expense of injuring others, or by 
running the slightest risk of hurting them in any way. 

The spirit of mischief must be kept within bounds even on 
All-Fools-Day. 




J-^C^ 



^ 







Gathering Wild Flowers. 




CHAPTER II. 

WILD FLOWERS AND THEIR PRESERVATION. 

ONG before the first green leaves make their 
appearance, while the snows of winter still 
linger in the shaded nooks, and the branches 
are still bare, though blushing with the full, 
flowing sap that tinges their tips pink, yellow, 
and red — when the air is filled with a sweet 
freshness and delicate fragrance — it is charm- 
ing in our rambles to find scattered here and 
there upon the hill-side, down among the roots of the great 
trees, or under the hedges delicate little wild flowers waving 
on their fragile stalks with the faintest passing breeze. They 
are so exquisitely beautiful with their tender hues and graceful 
shapes, that a longing comes to possess them. 

And why not keep them fresh at home ? Plants live in 
the earth and require light, air, and moisture. All of these 
requirements can be and are fulfilled in thousands of homes 
where plants are kept, all over the world. But these are 
wild flozvers. True, and they may need something to be 
found only in the w^ild woods. What, then, is it? Let us 
see. Earth, light, and air abound everywhere. Still, upon 
inspection we discover that the soil around our timid wild 
flowers is somewhat different from that to be found in our 
door-yards. But what is simpler than to take the earth up 
with the plant ? 



H 



Spring. 



Be careful in 



Transplanting Wild Flowers 

to dig well all around and under the roots, so that the earth 
surrounding and clinging to the plant may be taken up at the 
same time (Fig. 2). After covering the 
root and soil adhering to it with a layer 
of clay, mud, or damp earth (Fig. 3) 
set the root in a large leaf, and 
tie it up with string or 
a wisp of 
grass (Fig 
4), in order 
to make 
sure the soil 




does not fall 

off the plant. Thus se- 
cured the specimens will 
keep nicely until you 
reach home ; then plant 
them in a shady place 
and keep the ground moist. Beautiful little woodland gardens 
are made in this way, where within a few steps of the door a 
glimpse may be had of the fair forest flowers. 

Sweet-scented white violets, delicate little anemones, odd 
yellow violets, and quaint jack-in-the-pulpits, with many others, 



Wild Flowers and their Preservation. 15 

not forgetting the graceful ferns, are now growing in the shaded 
corner of the writer's lawn, transplanted there from their home 
in the woods, where she found them one lovely spring morning, 
when out with a party of friends on a hunt for wild flowers. 

The day was perfect, filled with sunshine and the song of 
birds. All nature appeared glad and joyous, and the trees 
seemed veiled in the softest greens and pinks of budding 
leaves. 

It was a happy party that went wandering into the forest, 
straying here and there, and finding new treasures at nearly 
every step, stopping to gather a few of the violets that gave a 
purple tinge to the ground for yards around, then rambling on 
to the spot that was covered with the fragile anemone, each girl 
laden with the flowers she loved best. Some had taken them up 
roots and all, while others preferred the 

Cut \A/'ild Flowers. 

For these it is best to use a tin box of convenient size and 
form shutting closely. The flowers must be fresh and not at all 
damp ; in such a box they can be kept for days bright and un- 
fading. They may also safely be sent to friends at a distance, 
though it is better, when 

Sending Flowers by Mail, 

if you wish to send a quantity, to pack them in a strong paste- 
board or wooden box. First lay down a piece of oiled paper of 
the proper size ; spread a thin layer of damp paper on this ; next 
a layer of flowers, then one of thin wet paper ; and so on until 
the box is full. Over the last layer place a dry paper, and cover 
this with oiled paper or tin-foil ; put the lid on the box and tie 
it down securely. 



1 6 Spring. 



By this method a larger number of flowers can be sent in a 
given space than when simply inclosed in a tin box. 

The writer has often sent daisies from New York to Cincin- 
nati where they arrived as fresh as when first gathered. 

For the benefit of those who wish directions for sending 
flowers by mail, we give the following on authority of the 
America7i Agriculturist. 

"The law passed some years since by Congress, allowing packages of 
plants to be sent by mail, if not over four pounds in weight, was a capital 
arrangement for those who lived at a distance from railroad and express 
offices, but it is so hampered with the various constructions given by the 
Post Office Department, that it is difficult to know what is required by the 
officials. The law now is, we believe, as follows : A package, weighing four 
pounds or less, can be sent at the rate of two cents per four ounces, but the 
writing of the words '^roots'' or "plants" makes a letter of it, and is 
charged letter postage. Nothing should be written except the address, and 
the package must not be sealed, or contain any writing, and it must be so 
fastened that the postmaster can examine the contents if he wishes. The 
plants may, however, be numbered, and their names sent by letter." 

Now let us think of some way in which these lovely blossoms 
can be preserved. 

In Germany they excel in making decorations for rooms, 
dinner-tables, etc., of 

Preserved Flowers. 

Bright-colored flowers are best adapted to this method. White 
flowers are apt to turn yellow. Jack~in-the-pulpits, clover, 
roses, and daisies came out beautifully when the writer dried 
them, and why should not many other kinds do just as well? 
Try and see. 

Procure three or four quarts of fine sand ; white scouring-sand 
is the best ; wash it perfectly clean. This can be tested by pour- 
ing the water off until it looks quite clear ; then dry the sand, 



Wild Flowers and their Preservation. 17 



by placing it in a clean tin in the oven. When it is dry — fully 

dry and cool — pour enough 
in a box to enable the flowers 
to stand by themselves, their 
stems embedded in the sand, 
which should be a mass of 
fine particles of uniform size. 
If the flowers are cut so 
that they all measure nearly 
the same length from the tip 
of the blossom to the end of 
the stem, they can more 
readily be covered with sand. 




Preserved Flowers, 



The flowers must be fresh and entirely free from moisture. 
Place them stem downward in the sandy layer, and very gently 



1 8 Spring, 

and slowly pour in the sand a little at a time, until each leaf 
and petal is firmly held in place (Fig. 5) ; then fill the box 
with sand nearly two inches above the level of the flowers. 

It is very essential that every particle of the flower rest in 
the sand, and that in filling up, the smallest petal has not been 
bent or crumpled. 

Take care not to shake the box lest the flowers inside be in- 
jured. Set it in a warm, dry place, and let it stand at least two 
weeks. 

This manner of preserving flowers retains the color, while 
the shape of the leaves and petals remains unaltered. The flow- 
ers will keep for years. 

There are other ways also of preserving flowers. 

Pressed Flowers and Leaves. 

Although these are perfectly flat, they seldom fade and are 
very pretty and useful. Have ready a large book or a quantity 
of old newspapers and several weights. Use the newspapers 
for leaves and ferns — blotting-paper is best for the flowers. 
Both the flowers and leaves should be fresh and without moist- 
ure. Place them as nearly in their natural positions as possible 
in the book or papers, and press, allowing several thicknesses 
of paper between each layer. Remove the specimens to dry 
papers each day until perfectly dry. 

Some flowers must be immersed — all but the flower head — 
in boiling water for a few minutes, before pressing, to prevent 
them from turning black. Orchids are of this nature. 

If possible, it is well to obtain all parts of a plant, the roots 
as well as the seeds, for a more interesting collection can thus 
be made than from the flower and leaf alone. 

It is advisable to be provided with a blank book or, what is 
still better, pieces of stiff white paper of uniform size on which 



Wild Flowers and their Preservation, 19 

to mount the flowers or leaves when dried ; also with a smal] 
bottle of mucilage and a brush for fastening them, and some 
narrow strips of court-plaster or gummed paper for the stems 
and thicker parts of the plants. The sooner they can be 
mounted the better. Place them carefully on the paper, writ- 
ing beneath the locality and date of finding. Flowers and 
leaves thus prepared make beautiful herbariums. Should you de- 
sire 

Leaves and Ferns for Decoration, 

first press them nicely ; then give them a coat of wax, by 
ironing them on both sides with a hot iron over which a piece 
of beeswax has first been rubbed. Cover the specimens com- 
pletely with wax, as this renders them quite pliable, and they 
are no longer brittle nor easily broken. Sprays of small leaves 
can be pressed entire. 

To heighten the effect, use dry colors, rubbing them in, and 
selecting those corresponding with the color of the leaves when 
first gathered. 

The colors must be put on before the coating* of wax. 
Ferns should be gathered when nearly full grown, and, after 
they are pressed, painted light green with oil-colors ; in that 
case the beeswax is not used. The oil in the paint, like the 
wax, makes the specimens more substantial, and they look 
quite fresh and .fair. 

Sometimes the late autumn frosts will bleach the ferns per- 
fectly white ; then are they even more delicate than before Nat- 
ure changed their color. We have seen the 

Color of Flowers Changed, 

and it is a very pretty experiment, very simple, too. Immerse 
the flowers in ammonia, and you will be surprised to see white 



20 Spring, 



I 



lilies change to a delicate yellow, pink roses turn a lovely 
light green, while dark-red sweet-peas assume blue and rich 
purple tints ; and the change is so rapid it is almost like magic. 
Another interesting experiment is making 

Natural Wax Flowers 

by dipping the fresh buds and blossoms in paraffine just suffi- 
ciently hot to liquefy it ; first the stems of the flowers ; when 
these have cooled and hardened, then the flowers or sprays, 
holding them by the stalks and moving them gently. When 
they are completely covered the flowers are removed and lightly 
shaken, in order to throw off the superfluous wax. The flowers 
are then suspended until perfectly dry, when they are found 
hermetically sealed in a film of paraffine, while they still keep 
their beautiful coloring and natural forms, and for a while even 
their perfume. Now let us find what can be done 

To Freshen Cut Flowers. 

When the heat has made them wilt, clip the stems and set 
the flowers in cold water ; in a few hours they will regain their 
freshness and beauty. 

Some flowers, however, must be differently treated, such as 
heliotrope and mignonette ; these keep if placed upon damp 
moss or cotton and set in a cold place at night. 

Rosebuds will retain their freshness for hours when not 
placed in water, if the ends of the stems are snipped off, and 
immediately tipped with melted sealing-wax ; this excludes 
the air, and so keeps the flowers from drooping. 

If roses are wilted before they can be placed in water, cut 
off the ends of the stalks and immerse in very hot water for a 
minute or two, and they will regain their pristine freshness. 

Another Way to keep flowers fresh is to put a pinch of ni- 
trate of soda into the glass each time you change the water. 



Wild Flowers and their Preservation, 21 

Nitrate of potash or saltpetre in a powder has nearly the same 
effect, or a drop of hartshorn. 

If plants are chilled by frost, shower them with cold water, 
and leave in a cool room ; or set the pot in cold water and keep 
in a moderately cool place. Now one word about 

Crystallized Flowers, 

that sparkle and look so beautiful. They must first be dried in 
sand, then crystallized in the same way as dried grasses— the 
rougher the surface the better will it crystallize. Dissolve as 
much alum in boiling water as it will hold ; when this is deter- 
mined, pour it off and boil the solution down to one-half. 

Suspend the flowers by a net-work of string tied across the 
top of a pail into which they must hang ; then pour into the 
pail the boiling alum water, which must completely cover the 
flowers, and leave it undisturbed twelve hours, or all night. 

The flowers should not touch each other or the sides of the 
bucket. Be careful in removing them the next morning, as the 
crystals are easily broken off. 

Flowers or sprays of grass may be beautifully frosted by 
dipping them in a solution of gum-arabic and sprinkling them 
with powdered isinglass. 

Flowers are not only very beautiful, but many of them pos- 
sess a fragrance so sweet that we would fain learn how to keep 
the 

Perfume of Flowers. 

Rose-leaves are the most simply prepared. Take a covered 
jar, fill it with sweet-scented rose-leaves, and scatter through them 
some salt. Keep the jar closed tight, and when the petals have 
dried the " scent of the roses will cling to them still," so that 
every time the jar is opened a delicious fragrance will fill the 
air. Or you can cover the rose-leaves with melted lard, and 
leave them for a day or two in some place at a temperature 



22 



Spring, 



of about 140° F. ; then cool 
it and knead the lard in alco- 
hol. Pour off the alcohol in 
fancy glass bot- 
tles and use as 
handkerchief per- 
fume. 

For varieties we 
find this method : 





!^ \ 






" The delicate odor 
of pinks and other flowers may be 
obtained as follows : Get a glass 
funnel, with the narrow end 
drawn to a point ; in this place 
lumps of ice with salt, by which 
a very low temperature is pro- 
duced. The funnel should be 
supported on an ordinary retort-stand and placed 
near the flowering plants, when water and the 
ethereal odor of the blossom will be deposited on 
the exterior of the glass funnel, and will trickle 
down to the point, from which it drops at inter- 
vals into a glass vessel below. The scent thus 
obtained is very perfect, but is apt to become 
sour in a few days unless some pure alcohol is 
added. By this process many odors may be pro- 
cured for comparison and study. To obtain the 
odor in perfection the blossom must be in its 
prime." 



Dry some sweet clover, and the fra- 
grance will be sweet and pleasant. Fill a 
fancy bag of some thin sheer material with 
the clover, and you will find that you have 
imprisoned the fresh breath of summer. 
Old-time lavender can be prepared in the same way. 



J 



Wild Flowers and their Preservation, 23 

Our thoughts so far have been for the flowers in their sea- 
son. But did it ever occur to you that it is possible to have 



Spring FloTvers in Winter? 

If you search in the woods during December you may find, 
tucked away in sheltered spots, little woodland plants which, 
when taken up and carefully transplanted in a flower-pot and 
set in a sunny window, will soon begin to grow, sending up 
tender stems, and in about three weeks will blossom. The lit- 
tle fairy-like flowers seem even more beautiful coming in the 
cold wintry weather. 

Fruit-tree twigs and sprays from flowering shrubs will blos- 
som when the ground is white with snow, if cut from trees 
about the first of February, placed in well-heated water in a 
warm room, and the water changed every day for some that is 
almost but not quite hot. 

The twigs being kept warm will blossom in a few weeks. 

It is quite a pretty idea to take up and plant in a little 
flower-pot 

The Four-leaved Clover. 

Very frequently you may find a tuft bearing only the mystic 
number, and should it happen to have a five- or six-leaved clover 
in with the others, they will add to the luck. 

If you possess one of these charmed plants, it is said "good 
luck " will always be near at hand. 

Besides the foregoing directions for the preservation of 
flowers, plants, etc., there are numerous other methods, which, 
although not experimentally verified by the writer, are no 
doubt as worthy of a place here as any of the former. 

The following recipes have been culled from various old 
papers, books, etc. 



24 spring. 



Some Old-fashioned Methods of Preserving Flowers. 

The first of these ways is more properly intended for bo- 
tanical collections, and is often resorted to by collectors of rare 
blossoms. It consists in placing 

Flowers in Alcohol, 

and possesses the great advantage of preserving the flowers for 
years, and keeping their most delicate fibres uninjured. They 
make invaluable specimens to sketch from, and though their 
beauty may be somewhat impaired by loss of color, their out- 
lines remain perfect. 

Place the flowers in a wide-mouthed bottle, fill it to the top 
with alcohol, cork it tightly, and cover the cork with plaster-of- 
Paris or melted beeswax, thus hermetically sealing it. Do not 
use sealing-wax, as experience has taught us that the fumes of 
the alcohol soften the wax, and not only spoil the neat appear- 
ance of the bottle, but allow the spirits to evaporate. 

Another way is to 

Bottle Flowers. 

Carefully seal the ends of the stems with sealing-wax, place 
them in an empty bottle — both flowers and bottle must be per- 
fectly dry — cork the bottle, and hermetically seal it with either 
sealing-wax or beeswax. 

The next method has greater possibilities of beauty, and 
consequently the reader will be more interested in learning 

How to Preserve a Vaseful of Flowers for a Year. 

Take home your basket of wild flowers, " nodding violets,'* 
cowslips, bright-eyed anemones, and all the lovely offerings of 
the woods, and before arranging them in the vase, carefully 
seal the stem of each flower. Place a glass shade over the 
vase ; be careful that flowers, vase, and shade are perfectly 



Wild Flowers and their Preservation. 25 

dry ; then fill up the groove in the wood, in which the shade 
stands, with melted wax. By covering the wax with chenille 
it can be perfectly hidden. 

Flowers kept in this way will last for a twelvemonth. 

The flowers preserved in an empty bottle may be taken 
out, the wax cut from the stems, and, if arranged in a bouquet, 
will last as long as perfectly fresh flowers. 

Those in the alcohol lose their color after being immersed 
for a time, and will not last when removed from the alcohol. 

In following any of these directions be careful not to tie 
the flowers. No string must be used. The flower stems must 
be loose and separate from each other. 

A florist of much experience in preserving bouquets for an 
indefinite period gives this recipe for 

Keeping Bouquets Eresh a Long Time. 

When you receive a bouquet sprinkle it lightly with fresh 
water, then put it into a vessel containing some soapsuds ; this 
will take the place of the roots and keep the flowers bright as 
new. Take the bouquet out of the suds every morning, and lay 
it sideways, the stems entering first, in clean water ; keep it 
there a minute or two, then take it out, and sprinkle the flowers 
lightly by the hand with water; replace it in the soapsuds, 
and it will bloom as fresh as when first gathered. 

The soapsuds need changing every three or four days. By 
observing these rules a bouquet can be kept bright and beauti- 
ful for at least a month, and will last longer in a very passable 
state. From another source we learn how 

To Keep Flowers or Fruit a whole Year perfectly Fresh. 

Mix one pound of nitre with two pounds of sal ammoniac 
and three pounds of clean common sand ; then in dry weather 



26 



spring. 



take fruit of any sort which is not fully ripe, allowing the stalks 
to remain, and put them one by one into an open glass until it 
is quite full ; cover the glass with oiled cloth, closely tied down. 
Put the glass three or four inches down in the earth in a dry 
cellar, and surround it on all sides to the depth of three or four 
inches with the above mixture. The fruit will thus be pre- 
served quite fresh all the year round. 

In giving the following recipe for the manufacture of rose- 
water, it may be as well to state that the original verse is given, 
not for its merit as such, but simply because it is the form in 
which the recipe reached the writer. 

Rose-water. 

" When the bushes of roses are full, 

As most of them are about June, 
'Tis high time to gather, or pull 

The leaves of the flowers. As soon 
As you've picked all you need for the time, 

To each quart of water unite 
K peck of the leaves ^ which, if prime — 

And they will be, if pulled off aright — 
May hQ placed in a still w^2x at hand. 

On a very slow fire. When done. 
Bottle off, and permit it to stand 

For three days ere you cork down each one." 




CHAPTER III, 



THE WALKING CLUB. 




SOUND of girlish voices is 
suddenly heard in the 
quiet village streets, as 
our Walking Club, issuing 
from the house of one of 
its members, starts off on 
the first tramp of the sea- 
son. The gay chatter 
and bubbling laughter 
blend with the twittering and chirping of the birds fluttering 
among the budding trees, and all these merry sounds seem in 
perfect harmony with the youthful gladness of the bright morn- 
ing. 

There is a subtle power and exhilaration in the spring sun- 
shine that stimulates the blood, and sends it tingling through our 
veins, as with light-springing steps we quickly leave the village 
behind us and penetrate into the outlying country, stopping 
now and then to secure a branch of the downy pussy-willow 
or brilliant red blossoms of the maple, and again to admire a 
distant view where the trees seem enveloped in a hazy mist of 
delicate color ; on we go, exploring sequestered spots or enter- 
ing deep into the woods in search of early wild flowers. 

Although possibly timid as individuals, as a club we are 
^rave enough ; for a party of fourteen or sixteen girls, including 







l.« 






The Walking Club, 29 

our merry little chaperon, may go, with impunity, where it 
would not be so pleasant for one to venture alone. 

Once a week all through that delightful spring the club might 
have been seen, now upon a road leading in this direction, now 
in that. And, often as we stepped aside to allow a carriage to 
pass, its occupants would lean forward smiling, and waving their 
hands in greeting ; for the moment, perhaps, feeling in sympathy 
with the vigorous young life that preferred this mode of loco- 
motion to being carried about on the downiest cushions of the 
easiest of carriages. A ride which accorded with the unconven- 
tional mood of our club was not despised, however, for, urged on 
by the girls, our little matron would make bold to accost some 
countryman driving a vehicle sufficiently large, and persuade 
him, in the terms of the country, to ** give us a lift." Jolting 
about in a springless wagon or hay-cart was not in the least 
enervating, and we experienced no indolent wish to continue our 
journey on wheels when forced by diverging roads to leave our 
equipage. It was not until the ever-increasing heat of the sun, 
and our own languid disinclination to much exertion, warned us 
that the mildness of spring had passed that we concluded to dis- 
band for the summer. In the fall we again fell into rank, and 
came home from *our walks laden with the gorgeous trophies of 
autumn, as we had once carried in triumph the tasselled branches 
and dainty flowers of spring. 

We continued our tramps into the early winter, when the 
frosty crispness of the air made it very bracing, and the brisk 
exercise of walking brought the healthy color to cheek and lip 
of the young pedestrians. 

Such a club as this, which at the same time promotes health, 
good spirits, and sociability, is one that most girls will enjoy 
and derive benefit from. 

A closer acquaintance with nature, which these walks afford, 
is not the least of their benefits, and to her true lover, nature has 



30 Spring. 



many delightful surprises and secrets to reveal ; and as has 
been said, even for for those who cannot read her deeper 
meanings she has a language which calls attention to her more 
outward forms of beauty, and which one may study until gradu- 
ally, with slowly opening eyes, is seen more and more of the 
exquisite perfection of her work, that long ago might have been 
seen had one but chosen to look. 

As a society, the Walking Club is one of the most informal. 

No officers are needed, although a secretary may sometimes 
be found useful when any word is to be sent to absent members. 

The membership of the club should be large enough to 
insure the attendance of at least twelve or fourteen on each 
walk ; for in this case, as I have said, safety lies in numbers. 
At a place of meeting previously appointed, the members 
should assemble, and, before starting on their walk, the route 
to be taken should be decided by vote ; a decision on this 
point will be more quickly arrived at if a chairman be ap- 
pointed to keep order. 

The first walk should not be too long. Three miles is a 
good walk to start with ; a mile and a half out and the same 
home again. Gradually the distance can be lengthened, and 
the club be able to take a ten-mile walk without feeling fatigue. 




The Walking Club, 



'^M 



mmm^^^' 









': To Make the Exercise of Walk- 
ING Healthful, and therefore 
the more Enjoyable, these Rules should 
BE Observed. 

i^^. Carry the body erect on the 
hips, the shoulders thrown back, 
the chest raised, a7td the head 
square on the shoulders. 

2d. Breathe through the nose 
while walking rapidly, other- 
wise the mouth will become dry 
and the breath short. 

2,d. Wear loosely fitting clothes 
that zuill permit a free motion 
of the limbs, and shoes with 
broad, m^oderately thick soles 
and low, broad heels. In all 
cases a girVs skirts should be 
supported from the shoulders, 
and in walking any distance it 
is absolutely necessary for com- 
fort that there should be no 
weight tipon the hips. 





CHAPTER IV. 



EASTER. 



VERYWHERE the children are playing with 
eggs ; eggs colored in every hue — mottled, 
striped, and gilded ; real eggs and imitation 
ones ; sugar, glass, and wooden eggs ; for 
this is Easter-tide, and not only in America, 
but in many far-away countries, where the 
habits and customs are very different from 
ours, does Easter bring to the children the highly prized, gayly- 
colored eggs. 

How nice it would be if we could take a peep into these 
foreign countries, and discover what else Easter brings the little 
ones besides the pretty eggs, and also how the people of such 
widely differing nations keep this happy festival common to 
all. 

If we could look into England now, we should find that the 
ceremonies there begin on Palm Sunday (the last Sunday be- 
fore Easter), and on that day many people go a-palming, only 
they do not, of course, find palm, but gather instead branches 
of willow, which they stick into their hats and button-holes. 
On Good-Friday we might see, on almost every breakfast-table, 
those hot spicy cakes with a cross stamped on the face, known 
to many of us as well as to our English cousins, as " hot cross 
buns." We should feel very much at home looking into the 
churches on Easter Sunday, for we should find them beautifully 
3 



34 Spring. 



decorated with flowers, and hear the Easter anthems chanted as 
we might in our own country. I do not think we can see in 
America, though, the ceremony which, on Easter Monday, is 
performed by the charity school-children in England. Were we 
among the spectators who, with shouts and merry laughter, 
crowd around to watch this performance, we should see the 
children take their places, with their backs against the outside 
of the church, and then join hands until a circle is formed 
around the building, thus completing what is called ** clipping 
the church." 

It would be great fun to see the Easter celebration in Rus- 
sia, which includes many pecuHar customs, and where the chil- 
dren receive presents as we do at Christmas, besides more eggs 
than any of us ever thought of possessing ; some of the eggs 
being beautifully made of glass or porcelain, and filled with 
sugar-plums or small presents. How amusing it would be to 
watch the people, following a custom always observed on 
Easter Monday in this queer land, as they go about kissing 
relations, friends, and acquaintances, wherever they happen to 
meet them. 

If we were really in this great, cold, furry country, we 
might go with the children to make their Easter visits, and, 
on entering a house, hear the greeting, " Jesus Christ is 
risen," and the answer, " Yes, he is risen ; " then after kiss- 
ing the inmates and exchanging eggs with them, go to visit 
elsewhere. 

All this would seem very strange to American eyes ; and 
it would be a strange sight too, if we could look into the cities 
of Spain and see the people in the streets shooting at stuffed 
figures of Judas Iscariot. 

A passing glance at Ireland on Easter morning would show 
us the people making haste to be out at sunrise to see the sun 
dance in a pool or pail of clear water. 



Easter, 35 



It would be worth while to give more than a passing glance 
into Germany at this season, for in this country, where the chil- 
dren's happiness is so much thought of and so well provided 
for, Easter Monday is looked upon as a grand holiday, and 
all the young people appear in their gala costumes ready for 
any fun or frolic that may be going on. It is a pretty sight 
when the little peasant-girls, in their quaint gowns and odd 
little caps, dance on the green with the boys, whose cos- 
tumes are equally as picturesque ; and it is also entertaining to 
watch them as they play various games with their many-colored 



In Germany, too, we should find that the children believe as 
sincerely in the Easter hare as they do in Santa Glaus in our 
country ; and the saying, that ** the hares lay the Easter eggs,'* 
is never doubted by the little ones. 

After visiting in imagination all these foreign countries to 
see their Easter celebrations, it may prove interesting to turn 
our eyes toward home, for, since our country is so large — as 
large almost as cCll Europe put together — perhaps some of our 
little citizens who have never been in Washington do not 
know how, in the capital of the United States, the children hold 
high carnival on Easter Monday, nor how the grounds of the 
White House and also of the Capitol are given up to them on 
this day that they may frolic on the lawns and roll their eggs 
down the hills. It would be as novel a sight to some of us as 
any found abroad, to see several thousand children rolling and 
tossing their eggs, while shells of every hue cover the grass in 
all directions. 

The following newspaper item, cut from the Evening 
Star, Washington, D. C., April 27, 1886, shows how these 
rights of the little Americans are recognized and respected, 
and how unmolested they enjoy the privileges of Easter Mon- 
day. 



36 spring. 



"THE EASTER EGG-ROLLING. 

"CHILDREN SHAKE HANDS WITH THE PRESIDENT. 

" The crowd in the White House grounds greatly increased yesterday 
afternoon, so that the grounds were literally packed with children. The 
crowd was the largest and best appearing that has collected there in many 
years. The President and Colonel Lamont watched the children for some 
time fi:om the library window. 

At the President's reception at half-past one o'clock hundreds of chil- 
dren gave up their sport temporarily and thronged the East Room to shake 
hands with the President." 

Easter Egg Gaines. 

In the game they play at Washington, on the hills sloping 
from the White House, the child whose ^^^ reaches the foot of 
the hill in an unbroken condition takes the one worsted in the 
journey down. Another game for two is played by knocking 
the eggs together ; each child holds an q%^ firmly in his hand 
so that only the small end is visible, and then the two eggs are 
struck against each other until one is cracked, when the vic- 
torious player adds it to his stock, or devours it on the spot. I 
would not like to state the number of eggs eaten on these 
occasions, but there is a boy {not a girl) who once consumed 
fourteen and lived to tell the tale. 

Sometimes the ^^g which breaks another is called *' the 
cock of one," and when it has broken two it is ** cock of two," 
and so on. When an ^g^ which is cock of one or more is 
broken, the number of trophies won by the victim is added to 
the score of the conquering ^g^ and it becomes ** cock of three " 
or more. Here is a game which comes from Germany, and al- 
though in that country it is played exclusively by boys, there is 
no reason why the girls should not participate in it as well. Two 



Easter, 37 



baskets are necessary for this game, one large and shallow filled 
with soft shavings, the other shallow also, but smaller, and filled 
with eggs. The plan of the game is that one player is to run a 
given distance, while another safely throws the eggs from one 
basket to the other, she who completes her task first being the 
winner. When the baskets are prepared, and the distance the 
eggs are to be thrown decided upon, the two contestants draw 
lots to determine who shall run and who shall throw. This 
settled, the player who throws takes the basket of eggs, and one 
after another quickly tosses them the length of the course and 
into the basket of shavings, which is placed on the ground at the 
end of the course opposite the thrower. In Germany this 
basket is held by an assistant, but anyone occupying that po- 
sition might receive some severe blows from the hard eggs 
thrown by unpractised hands, and it answers the purpose just 
as well to place the basket on the ground. Meantime the 
other player runs the distance (decided beforehand) to an ap- 
pointed goal, marks it as a proof of having touched it, and should 
she succeed in returning before all the eggs are thrown, the vic- 
tory and prize are her reward ; otherwise they belong to the 
thrower. 

The game finished, a prize is presented to the successful con- 
testant. Should any of the eggs pitched by the thrower fail to 
light in the basket, they must be gathered up and thrown again 
before the runner returns, as the eggs must all be in the basket 
before the thrower wins the game. 

" Bunching eggs " comes from Ireland, and is played in very 
much the same manner as the game played with a slate and 
pencil, and known to all children as *' tit, tat, toe, three in a row." 
A pan or large dish filled with sand or sawdust is set upon a 
table, around which the children stand, each supplied with eggs ; 
the eggs of each player must be all of one color, and unlike 
those of any other player. The object of the game is for each 



38 spring. 



player to so place her eggs, standing them upright in the sand, 
or sawdust, as to bring five in a row touching each other. 

In turn each player puts down an ^%g, sometimes filling 
out a row for herself, at others cutting off" the line of an oppo- 
nent ; and the one who first succeeds in obtaining the desired 
row sings out — 

" The raven, chough, and crow, 
Say five in a row." 

Another pretty game from Ireland called ** Touch '* is played 
in the following manner : 

Six eggs of the different colors — green, red, black, blue, 
white, and gold are placed in a row in the sand used for the other 
game. One of the players is blindfolded and given alight wand 
or stick, with w^hich she must touch one of the eggs, while at 
the same time she recites these lines : 

Peggy, Patrick, Mike, and Meg, 
See me touch my Easter ^g% ; 
Green, and red, and black, and blue, 
Count for six, five, four, and two. 
If I touch an t.g% of white, 
A forfeit then will be your right ; 
If I touch an egg of gold. 
It is mine to have and hold. 

As is told in the rhyme, the eggs each have a different 
value. Green counts six ; red, five ; black, four ; and blue, 
two ; and the gold Q:g% is worth more than all put together, for 
when a player touches that, she wins the game and a forfeit of 
an egg from each of the other players. The white ^^^ is worth 
less than nothing, since it not only has no value but whoever 
touches it with the wand must pay a forfeit. 

Each player is in turn blindfolded and makes her trial, keep- 
ing account of the value of the eggs she has touched. When the 



Easter, 39 



sum of twenty has been reached by anyone the game is ended, 
without the aid of the gold ^^^. The position of the eggs are 
changed after each trial, that the person about to touch them 
may not know where it is best to place her wand. 

Easter Egg Dolls. 

In some of the large confectionery stores in New York City 
may be found at Easter-tide quaint little Easter offerings, look- 
ing at first sight exactly like dolls' heads surmounted by pretty 
little head-dresses. As dolls are not peculiarly appropriate gifts 
for Easter, one naturally examines them closer, to ascertain if 
there is anything about them significant of the day, and in so 
doing quickly discovers that the heads are not made of wax or 
china, as was at first supposed, but are simply egg-shells from 
which the eggs have been blown, leaving the shell perfect. 
Little faces are painted upon these shells, and the cunning caps 
or bonnets are made of tissue-paper. 

Now it is our purpose to teach the children who do not live 
in New York and have never seen these pretty toys, and also 
those who, having seen, cannot afford to purchase them, just how 
to make some of these little men and women, and how to fashion 
a variety of head-dresses not to be found in the stores. 

To begin with, select several nice large eggs, those of a 
pinkish yellow are preferable, being something of a flesh-tint. 
These eggs should be blown, or the shells emptied of their 
contents ; to blow them make a small hole in each end of the 
shell, and, taking it gently between the thumb and forefinger, 
put one hole to the lips ; then blow, not too hard, but steadily,, 
until the ^g^ has all run out of the other end. 

The face must be painted next, and to those who know 
nothing of drawing this will seem no easy task, until by care- 
fully observing the following direction they will find that it is 



40 



Spring, 







Lkck 



Patterns for Head-dresses. 



Easter. 



41 




The Nun. 



in the power of anyone to produce as pretty a face as could 

be wished for. 

Among picture-cards, or in almost any juvenile book, may 

be found many pretty faces of a suitable size which can be 

transferred to the egg in this way. 
Lay a piece of tracing-paper over the 
head selected, and with a soft lead- 
pencil trace carefully all the lines in- 
dicating the features ; then place the 
paper on the shell so that the pencil- 
marks are next to it, and with a hard 
pencil, or ivory knitting-needle, go 
over the lines again, thus transfer- 
ring the soft pencil-marks to the shell. 
Touch up and strengthen the features 

with a fine paint-brush and india-ink. Anyone understanding 

painting may color the face in natural tints, but it looks very 

nicely done merely in outHne. 

The simplest arrangement for holding the little head erect 

is a small pasteboard box turned upside down, and having a 

hole cut in the bottom just large enough 

to admit the small end of the shell ; this 

will support the head nicely, and also form 

the shoulders. 

Make the hair of raw cotton blackened 

with ink, and fasten it on the head with 

mucilage. When all of the foregoing di- 
rections have been carried out it is time 

to attend to the head-dresses, and we will 

begin with the quaint and old-fashioned 

poke-bonnet. Cut this bonnet from ordi- ^he oid-fashioned Giri. 

nary brown wrapping-paper after the pattern shown in dia- 
gram ; sew together the ends of the ** side of crown," then sew 




42 



spring. 



the curved side (which is cut in sHts as shown in pattern, and 
folded back as indicated by dotted line) to the smallest part of 
brim; fold in the strips marked on the straight **side of 
crown" and fasten on the " top of crown" with mucilage. The 
trimming for the bonnet consists of a fold and bow of colored 
tissue paper. 

Make the man's hat of shiny black paper by the pattern in 
diagram, and fasten together in the same 
manner as the bonnet, rolling the sides of 
the brim when finished. Black and white 
tissue-paper folded to fit the head, as 
shown by the dotted lines in the pattern, 
forms the head-dress of the nun. 

By copying the head-dresses of differ- 
ent nations, an odd and curious assembly 
of these Easter-egg dolls can be formed ; 
but that must be worked out at some 
future time, for we have yet to tell how 
to construct some Easter toys that cannot be found in any 
store. The 

Humpty Dumpty 

who *' sat on a wall," and the '* Humpty Dumpty" who " had 
a great fall," must have been like the one I am about to de- 
scribe, made of an ^^^ ; for it is pretty certain that if he should 
fall, " all the king's horses and all the king's men couldn't put" 
this ''Humpty Dumpty together again" any more than they 
could the other. 

The diagram shows the frame of this little fellow and how it 
is joined together. A large ^^'g should be chosen ; and when 
the contents have been blown from the shell, four holes must 
be pricked in it for the arms and legs to pass through, as shown 
in the diagram. These limbs are made of rather fine bonnet- 




The Dude. 



Easter. 



43 



^ 



HuTnpty luTitp'^'s 


trc^Nvsers- NA/i^jLte 


1 


/ ' 




I 



Huinpty!Du.inply»S Jacket- 



Wkite 




Diagram of Humpty Dumpty. 



44 



Spring, 



wire, the piece used for the arms being about eight inches long. 
The hand is made by bending up one end of the wire as in dia- 
gram, and with softened beeswax covering the loop thus formed. 
When one hand has been finished off in this way, the other end 
of the wire, still straight, should be passed through one of the 
holes near the small end of the shell and out through the one 

opposite, then bent up in- 
(|j\\ to a hand and arm in the 

same manner as described. 
The wire for the legs 
and feet must be ten inches 
long. The diagram shows 
how it is bent to form the 
feet. On this frame, wax 
can easily be modelled to 
look like a foot ; a coating 
of red paint will add to the 
appearance, as red boots 
look well with the costume 
to be worn. The wire for 
the legs should be bent in 
before it is passed through 
the shell. Again, as with the hands, one foot must be finished 
and the legs fastened on before the other foot can be made. 

The figure of Humpty Dumpty being thus prepared, his face 
must be painted ; water-colors are the best for this purpose. 
The jollier the expression of his face, the funnier the little man 
will look. 

Patterns for trousers, jacket, and hat are shown in the dia- 
grams. The trousers should be cut from white cotton cloth two 
and a half inches long and six inches wide. A slit an inch and 
a half long, cut in the middle, separates the legs of the trousers, 
which must, of course, be sewed up. Dotted lines at top and 




Humpt7 Dumpty. 



a curve in the middle (see diagram] 



Easter. 



45 



bottom show where a gathering thread should be run, the bot- 
tom gathers forming ruffles around the ankles. White should 
also be used for the jacket, cutting it three and a half inches 
long and five inches wide. The shape of the jacket may be 
seen in the diagram, dotted lines showing where the sleeves are 
to be gathered around the wrist. Collar and pockets of red — 
the patterns of which are given — finish the little garment. A 
white hat four inches around the brim and two inches high is 
decorated with a band of red, which should be sewed on the 
edge and turned up. 

When dressing Humpty Dumpty, fasten his garments on to 
his body here and there with glue, which will hold them se- 
curely in place. The hat also should be glued to his head, a^^ 
it is difficult otherwise to keep it on. 



Miss RoUy-poly. 

Little Miss Rolly-poly, who decid- 
edly refuses to lie down, always re- 
gaining an upright posture, no matter 
in what position she is placed, is made 
in the following manner : After the 
contents have been blown from the 
shell, the hole of the small end is en- 
larged gradually until it is about a 
half-inch in diameter ; the shell is then 
placed in an upright 
position (a box with a 
hole cut in it just large 
enough to hold the o^^'g 

Miss Rolly-poly. ^^^^j^ ^^^j^^^ a gOOd 

Stand) and melted sealing-wax is poured in ; on top of this 
melted lead is poured, all the while care being taken to keep 




46 



Spring. 



the shell perfectly steady, that the weight may fall exactly in 
the centre and make a perfect balance. A small quantity of 
lead is sufficient for the purpose, as the shell is so very light. 

Miss Rolly-poly requires no limbs ; when her babyish face 
is painted she is ready for her costume. The dress is simply 
made of a strip of colored cloth, and is two inches long and 
seven inches wide. The white apron is fastened to the dress as 




j 


p 


1 


1 1 
O. r 


O 1 


^ 





-{ 1 


ra i 


1 
1 
1 



Diagram of Miss Rollf-polf. 

shown in the diagram. Sleeves are made of pieces of the dress 
material about one inch long and one and a half inch wide. 
They are rolled up and fastened with needle and thread, then 
sewed on to the dress in the position shown in the diagram. 
Pockets are made for the apron, and the ends of the sleeves 
tucked in them, which makes it appear as though the hands 
were hidden in the pockets. The cap, made of the same ma- 
terial, or of a color harmonizing with the dress, is four inches 



Easter. 



47 



round the brim and one inch high ; it is sewed together at the 
two ends, and gathered into a pompon on top, as is shown by 
the dotted Hnes in the diagram. A little glue should also be 
used to fasten this dolly's dress and cap on. 



Mandolin. 



A pretty little toy 
mandolin is made of the 
lengthwise half of an 
egg-shell. To sep- 
arate the shell in 
this way it is 
necessary 
to pierce 
holes 




with a needle along 
the line where the di- 
vision is to be made, 
which will cause it to break 
evenly ; or the &g% may be 
boiled hard and then cut in 
half with a very sharp knife. 
Fig. 6 is cut from stiff paper, 
and the strings drawn with pen 
and ink ; then the shell is fast- 
ened to it on the opposite side 
by pasting a narrow strip of white tissue paper 
over the edges of the shell and frame, joining 
them together. The top of the handle 
is bent down a little and a narrow rib- 
bon tied to it. To make the 
mandolin still more complete, 
paint the handle mahogany 
color, with a fine needle stitch 
on strings of yellow silk, and paint the egg-shell into pumpkin- 
like divisions of yellow and mahogany. 



The Mandolin. 



48 



Spring, 



The Owl. 

To turn a hen's ^^^ into an owl has not before, I imagine, been 
thought possible ; yet it is easy enough,. and requires but a very 





Wing. 



Diagram of Owl. 



short time to accomplish the transformation, when one knows 
just how to go to work. No incubator is needed to hatch this 

bird, as only the shell is used, the 
contents having been disposed of 
in the manner before described. 
We commence the formation of 
the little owl by making two holes 
near the large end of the shell in 
the position shown in diagram. 

By looking at the next diagram 
the manner of making the feet and 
legs may be seen. A short piece 
of wire is bent in the shape given, 
and is wrapped on to a longer 
wire with strong thread, thus form- 
ing three toes, which are quite 
enough for a bird that will never walk. One foot made, the 
wire is passed through the shell, having first been bent into a 




Owl Complete. 



Easter, 49 



curve, as in the description of Humpty Dumpty. Wiien the 
last foot has been fastened on, the wire should be pushed back 
into the shell, allowing but little of the legs to show. The 
wings are cut by the pattern given, and are painted to resemble 
feathers as much as possible. Brown is the best color to use- 
By the diagram may be seen how the head and body are painted.. 

Maple-wax Easter Eggs. 

Empty the egg-shell of its contents and open a place at the 
small end the size of a silver dime. Stand it in an upright po- 
sition with the largest opening on top, and leave it while you^ 
prepare the maple-wax, or candy. Mix enough water with 
some maple sugar to dissolve it, and set on the fire to cook ; 
when it will harden in cold water it is done. Carefully fill the 
egg-shell with the hot maple-wax, and keeping it in an upright 
position, set it on the ice to cool. When the wax is perfectly 
cold and hard, paste an artificial daisy over the opening in the 
shell. Maple-wax is the nicest kind of candy, and done up in 
this way will remain firm and hard for a long while ; and there- 
fore these maple-wax eggs make excellent Easter gifts to send 
away to one's friend at a distance. The best way to pack them 
is to wrap them in cotton and then put them in a tin baking- 
powder box, filling up the interstices with cotton to keep them 
from knocking about. 

The box, of course, must be wrapped in paper and tied se- 
curely with a string. Packed like this, they may travel safely 
all over the United States. The writer sent several the distance 
of over seven hundred miles, and they arrived at their destina- 
tion in as perfect condition as when they left her hands. 

Bonbon Box. 

Select a box two or three inches high — a round one is best 
— which has a lid that covers the entire box. Cut some straw 

4 



50 



Spring. 



or hay in pieces long enough to reach from the top to the edge, 
and glue it on the sides of the lid, covering them completely. 
Prepare as many halves of egg-shells as will cover the top, al- 
lowing a space one inch wide around the edge. Glue the shells 
down, and fill up the spaces between with straw. Near the 
edge, on the opposite sides, glue a loop of narrow white rib- 
bon ; these loops are to lift it with. Then glue straw on all the 
uncovered parts of the lid, making it a little thicker and higher 
at the edges. When the box is finished it resembles a nest of 
eggs, and makes an appropriate and acceptable Easter gift. 

Easter Cards. 



It is a very pretty custom, that of sending Easter cards, 
altogether too pretty to be allowed to lapse into disuse, as many 

customs which are merely the ex- 
pression of sentiment are apt to do 
in this busy, practical country of 
ours. One experiences a great deal 
of pleasure in selecting from the 
stock of beautiful cards found in the 
stores just before Easter those that 
seem suitable for one's friends, but 
more pleasure will be derived from 
home-made Easter cards, both to 
the sender and recipient ; for it is 
true that into everything we make 
we put a part of ourselves, and into 
many a home-made article is woven 
loving thoughts which make the gift priceless, although the ma- 
terials of which it is composed may have cost little or nothing. 
Several years ago the writer was visiting a friend in the 
country twenty miles from the nearest town where Easter cards 




Easter. 



51 



could be purchased, but when Easter approached we sent off 
our cards, just the same, and I am sure our friends were as 
pleased with them, and more pleased, than if they had been of 
the most expensive kind. This is how we made them : 

It was an early spring, and the woods were filled with wild- 
flowers, anemones and violets mostly ; these we gathered, and 
arranging them in small bunches, stuck the stems through little 
slits cut in cards or pieces of heavy paper, as they are some- 




Pattern for the Chicken. 

times fastened in books when pressed. Underneath the bouquet 
we wrote the name of the person for whom it was intended, 
with some friendly message appropriate to the season, and 
signed our own names ; then we carefully folded each in writ- 
ing paper, taking pains not to crumple the flowers, and enclos- 
ing them in envelopes, sent them to their destination through 
the mail. Any kind of flowers can be used for these Easter 
cards, and instead of putting the stems through slits in the 



52 



spring. 



card, they may be tied to them with narrow ribbon. A card 
to be sent only a short distance should be put in a box just 
deep enough to leave room for the flowers, and fastened in 
some way to keep it from moving about ; in this way it will 
reach its destination sweet and fresh. 

To those who can paint their Easter cards we have no sugges- 
tions to offer, for they have an unHmited supply of designs at their 
command, and with their power of decoration, may turn almost 
anything into an Easter card, from a piece of satin ribbon, upon 
which they sketchily paint a spray of flowers, to an elaborate 
picture. A few suggestions are here given which our younger 
readers may like to carry out, as the cards we describe are 
easily made, and adapted to amuse the children. 

** Stepping through the White House " the first card is called, 
and it represents a little chicken breaking through its shell. 
The pattern of the chicken is given in the diagrams. Fig. 7, the 

head and neck, is cut from yellow 
flannel ; Figs. 8, 9, and 10, the main 
part and fragments of shell, are of 
white paper, and Fig. 1 1, the feet, of 
black paper. These are pasted to a 
tinted card, as shown in illustration. 
The eye and bill are made black 
with ink or paint. 

Little Quakeress. 

Half an egg-shell, with the face 

and hair painted on it, forms the 

The Little Quakeress. head. The Cap is made of whitc 

tissue paper cut in four strips ; one, for the crown, is six and a 

half inches long, and a little over one and a half wide ; another, 

for the brim, is four and a half inches long and one inch wide ; 




Easter. 



53 



while the strings are each three and a half inches long, and one 
and a half wide. The crown is plaited in the centre, the brim 
folded lengthwise through the middle, and sewed to the crown. 
The strings are fastened on either side of the cap, and crossed 
in front ; then the cap is pasted on the head, the surplus paper 
folded back, and the whole glued on a card. The ends of the 
strings are also fastened to the card, forming a Quaker kerchief. 




tr^ / 



CHAPTER V. 



HOW TO MAKE A LAWN-TENNIS NET. 




century, as some claim, 
all learn to play tennis ? 



ET us see ; it was that old medical gen- 
tleman, Galen the Greek, who first 
wrote upon tennis, speaking of the 
sport as healthy exercise, was it not ? 
Well, girls, it really does not matter 
much to us whether he was the first 
to write it up and the Greeks the 
first to play it, or whether the game 
originated in France in the fifteenth 
What we want to know is, can we 
Does it cost much ? What kind of 
gowns and shoes must we wear ? And is it an enjoyable game ? 
There is no doubt, we think, of its being a right royal 
pastime, as it has been called both the '' king of games " and 
the " game of kings ; " the latter because it was enjoyed by 
princes and nobles — so much enjoyed, that in both England and 
France edicts were published forbidding the common people to 
play it. 

Girls, do you wonder if they always had the choice of courts, 
and so never took part in the fun of spinning the racket in the 
air while the adversary called out " rough " or " smooth ; " or 
whether they played as we do, taking their defeats pleasantly 
and wearing their honors gracefully, while always doing their 
very best ? 



56 



Spring. 



They must have played well, for it is said that Louis XL, 
Henry IL, and Charles IX., were experts, and that Henry VIIL 
*of England was extremely fond of the sport. 

We can easily learn to play this most popular and exhilarat- 
:ing of games. But we must be suitably clothed in order to 
thoroughly enjoy it and receive all the benefit the recreation 
^brings to both mind and body. 

Flannel seems to be the best material for a tennis suit — it is 
iSO soft and yielding, and so well adapted for a defence against 

either cold or heat. 
Then, make your 
tennis gown of flan- 
nel ; the skirt in 
plaits, without dra- 
pery ; the postilion 
basque of Jersey 
cloth, soft and elas- 
tic, matching the 
skirt in color. 

Sew the skirt of 
your gown on a 
sleeveless waist, 
made of lining or 
muslin. The Jersey 
will fit nicely over 
this, and you can play better and feel far more comfortable 
than when the weight is allowed to drag on the hips. For it 
is nonsense to attempt to take part in any athletic game unless 
you can have perfect freedom of action ; in short, you should 
be so dressed as to be utterly unconscious of your clothing. 

Either crochet a Tam O' Shanter hat or make one of the 
dress material, as these are not so apt to fall off while running as 
a straw hat. " Last, but not least," come the shoes. Of course, 




How to Make a Lawn- Tennis Net. 57 

rubber-soled shoes are the best. But if these are not to be had, 
remove the heels from an old pair of ordinary shoes, and they 
will do very well ; heels roughen and cut the courts. 

The actual cost of a lawn-rennis set need only be the price 
of the rackets and balls, and rope and cord necessary when 
you learn 

Hov^^ to Make a Lawn-Tennis Net, 

which is not difficult. 

First procure two pieces of cotton rope, three-sixteenths of 
an inch in size, each thirty-four feet long, costing about twenty- 
five cents apiece. Then one and a half pound of hammock 



rw ii 



X) 



Stake. Peg. 

twine or macrime cord. No. 24, which will not cost more than 
fifty cents. Next, two lengths of cotton rope for guy-ropes, 
-each five feet, price, both included, ten cents ; making the total 

amount $i.io for a strong, firm, ten- 
^ ^ ^ nis net which will prove serviceable and 



last many a sea- 



The other 



son. \S'~Z^^ 

Runner. t' i. . ^ i \I C--'''^ 



materials necessary are all home-made. '"'s'^ 

ry, t • . Hunner and Guy-rope. 

inese consist 

r.g/fc ) of two stakes, each five feet long (Fig. 

' 12). Any kind of a strong pole, when 

sharpened at one end and a notch cut 
at the other, will answer the purpose. Four pegs, each one foot 
long (Fig. 13). These may be easily made of old broomsticks. 
Four runners (Fig. 14), each five inches long, one and a quarter 
wide, and about half an inch thick, with holes bored near each 



58 



Spring. 



end large enough to allow the guy-rope (Fig. 15) to pass 
through. A fid or mesh-stick of any kind of wood (Fig. 16), 
about a foot or ten inches long, with circumference measuring 
three inches. A hammock-needle (Fig. 17), nine or ten inches 
long and one wide, which may be bought for ten cents, or 
whittled out of a piece of ash or hickory by some kind 
A brother. Tassels are not necessary, though /\ 

it is much better to have them, as they make 
the top line of the net more distinct and add 
to its appearance. Make about forty bright- 
colored tassels of worsted, or bits of flannel 



Fit 1 7 





K 



Hammock- 
needle. 



cut in very narrow strips, three inches long, allowing ten or 
twelve strips to each tassel. Commence your tennis net by 
first threading the needle ; take it in the left hand, and use the 
thumb to hold the end of the cord in place while looping it 
over the tongue (see Fig. 18); pass the cord down under the 
needle to the opposite side, and catch it over the tongue. Re- 
peat this until the needle is full. 

Next, take a piece of rope thirty-four feet long, and make a 



How to Make a Lawn- Tennis Net 59 



long loop in one end, tying the knot so that it can readily be 
untied again. Throw 
the loop over some 
convenient hook or 
door-knob (Fig. 19) 
with the knot at the 
knob or hook. Tie 
the cord on the needle 
to the loop, place the 
fid or mesh-stick un- 
der the cord close to 
the loop (Fig. 20), 
with the thumb on the 
cord to hold it in place 
(Fig. 25), while you 
pass the needle around 
the mesh-stick, and, 
with its point toward 
you, pass it through 
the loop from the top, 
bringing it over the 
mesh-stick. This will 
make the first half of 
the knot (Fig. 21). 
Pull this tight, holding 
it in place with the 
thumb while you 
throw the cord over 
your hand, which 
forms the loop as seen 

in Fig. 22. Then pass ^_^^^^ 

the needle from under 
through the loop, pulling it tight to fasten the knot. Hold it 




6o 



Spring. 



in place with the thumb, and repeat these movements for th 
next knot. Fig. 23 shows a number of these knots finishe( 
A in Fig. 23 is a knot before it is drawn tight ; B in Figs. 21 
22, 23 is the string that runs to the needle, C is the rope, an 
D is the mesh-stick. About two hundred and sixty-four 

these knots or meshes will make th 
net the regular length, thirty-thre 
feet. 

In knitting across, the meshes wi 
accumulate on the fid ; shove thei 
off to the left, a few at a time, t 
make space for others. When th 
desired number of meshes are finishe 
to form the first row, shove them a 
off the fid, as shown in Fig. 24. 

Begin the next row by again plac 
ing the fid under the cord (Fig. 24 
Take up the first mesh, drawing i 
close to the mesh-stick, hold it i 
place with the thumb while throwin 
the cord over your hand, pass the nee 
die on the left-hand side of the mes 
from under through the loop (Fig. 25) 
pull this tight, and you will have tied the common knitting-knoi 
Repeat this with all the loops until the row is finished. 

When it becomes necessary to thread or fill the needle, ti 
the ends of the cord with the knot shown in Fig. 26, which, whe 
properly tightened, cannot slip. Wrap each end of the cor 
from the knot securely to the main cord with strong thread, t' 
give the net a neat appearance. 

Continue netting until the net is three feet wide. Then un 
tie the rope, and spread the net by sliding the knots apart, an( 
fasten the second rope to the bottom of the net by tying the rop 




How to Make a Lawn-Tennis Net. 



6i 



'securely to the first mesh with the cord on the needle ; then 
tarry the rope and cord to the next mesh, hold the rope, cord, 
'and mesh firmly in place, and throw the cord over your hand, 
'passing the needle down through the mesh under the rope and 

cord out through the loop (Fig. 
27). Pull this tight, and continue 
in like manner, knitting each suc- 
cessive mesh to the rope until the 
net is all fastened on. Turn back 
the end of the rope and 
wrap it down neatly 
with strong string ^^^' '^' 
(Fig. 28). In the same way secure 
the other end, and also the ends of 
the first or top rope. 

This completes the lawn-tennis 
net proper. The bright tassels can now be tied at intervals 
along the top of the net, and four pieces of twine fastened on 
each end of the net at equal distances apart. These are for 
tying the net to the poles (Fig. 29). 

To erect the lawn-tennis net, plant the two poles firmly 
in the ground a little over thirty-three feet apart, tie the net to 
the poles, then drive in the pegs, two to each pole, about five 
feet from the pole (Fig. 30) ; slide a runner on each end of the 




Fig. 25. 





two guy-ropes by first threading the rope through one of the 
holes in the runner, then pass the rope over the side down 



6o 



^\pring. 



in place with the thumb, and repeat these movements for the 
next knot. Fig. 23 shows a number of these knots finished. 
A in Fig. 23 is a knot before it is drawn tight ; B in Figs. 21, 
22, 23 is the string that runs to the needle, C is the rope, and 
D is the mesh-stick. About two hundred and sixty-four of 

these knots or meshes will make the 
net the regular length, thirty-three 
feet. 

In knitting across, the meshes will 
accumulate on the fid ; shove them 
off to the left, a few at a time, to 
make space for others. When the 
desired number of meshes are finished 
to form the first row, shove them all 
ofif the fid, as shown in Fig. 24. 

Begin the next row by again plac- 
ing the fid under the cord (Fig. 24). 
Take up the first mesh, drawing it 
close to the mesh-stick, hold it in 
place with the thumb while throwing 
the cord over your hand, pass the nee- 
dle on the left-hand side of the mesh 
from under through the loop (Fig. 25) ; 
pull this tight, and you will have tied the common knitting-knot. 
Repeat this with all the loops until the row is finished. 

When it becomes necessary to thread or fill the needle, tie 
the ends of the cord with the knot shown in Fig. 26, which, when 
properly tightened, cannot slip. Wrap each end of the cord 
from the knot securely to the main cord with strong thread, to 
give the net a neat appearance. 

Continue netting until the net is three feet wide. Then un- 
tie the rope, and spread the net by sliding the knots apart, and 
fasten the second rope to the bottom of the net by tying the rope 




How to Make a Lawn-Tennis Net. 



6i 



securely to the first mesh with the cord on the needle ; then 
carry the rope and cord to the next mesh, hold the rope, cord, 
and mesh firmly in place, and throw the cord over your hand, 
passing the needle down through the mesh under the rope and 

cord out through the loop (Fig. 
27). Pull this tight, and continue 
in like manner, knitting each suc- 
cessive mesh to the rope until the 
net is all fastened on. Turn back 
the end of the rope and 
wrap it down neatly 
with strong string ^'^* ^^* 
(Fig. 28). In the same way secure 
the other end, and also the ends of 
the first or top rope. 

This completes the lawn-tennis 
net proper. The bright tassels can now be tied at intervals 
along the top of the net, and four pieces of twine fastened on 
each end of the net at equal distances apart. These are for 
tying the net to the poles (Fig. 29). 

To erect the lawn-tennis net, plant the two poles firmly 
in the ground a Httle over thirty-three feet apart, tie the net to 
the poles, then drive in the pegs, two to each pole, about five 
feet from the pole (Fig. 30) ; slide a runner on each end of the 




Fig. 25. 





two guy-ropes by first threading the rope through one of the 
holes in the runner, then pass the rope over the side down 



64 



Spring, 



Fig. 33 







B 





L Base Line 


36 ft. . F 


^ 






hJ 


a 






s 


T 


Service Line 


37 ft. 


V 








1- 
cc 

3 
O 

o 


O 
o 


d 




»- 

X 


u. 


(M 




o 


Ill 






cc 


-1 








a 


r 


NET 


NET 






H 


1- 






tc 


a. 




• 


Zi 


3 




4:: 


o 


o 


t. 


S^ 


o 


o 


55 




>- 


f- 






u. 


I 






UJ 

-J 






M 


Service Line 


37 ft. 


N 

4^ 






■» 






2 


C 


^ Base Line^ 


J 36 ft. t 


\ 



LAWN-TENNIS COURT. 



How to Make a Lawn- Tennis Net. 65 

3. At the end of the first "game the striker-out shall become 
server, and the server shall become striker-out ; and so on, al- 
ternately, in all the subsequent games of the set, or series of 
sets. 

4. The server shall serve with one foot on the base line, and 
with the other foot behind that line, but not necessarily upon 
the ground. He shall deliver the service from the right to the 
left courts alternately, beginning from the right. 

5. The ball served must drop between the service line, half- 
court line, and side line of the court, diagonally opposite ta 
that from which it was served. 

6. It is a fault if the server fail to strike the ball, or if the 
ball served drop in the net, or beyond the service line, or out of 
court, or in the wrong court ; or if the server do not stand as 
directed by law 4. 

7. A ball falling on a line is regarded as falling in the court 
bounded by that line. 

8. A fault cannot be taken. 

9. After a fault the server shall serve again from the same 
court from which he served that fault, unless it was a fault be- 
cause he served from the wrong court. 

10. A fault cannot be claimed after the next service is de- 
livered. 

11. The server shall not serve till the striker-out is ready. 
If the latter attempt to return the service he shall be deemed 
ready. 

12. A service or fault, delivered when the striker-out is not 
ready counts for nothing. 

13. The service shall not be volleyed, i.e., taken, before it 
has touched the ground. 

14. A ball is in play on leaving the server's racket, except 
as provided for in law 6. 

15. It is a good return,. although the ball touch the net ; but 

5 



66 Spring, 



a service, otherwise good, which touches the net, shall count for 
nothing. 

i6. The server wins a stroke if the striker-out volley the ser- 
vice, or if he fail to return the service or the ball in play ; or if 
he return the service or the ball in play so that it drops out- 
side of his opponent's court ; or if he otherwise lose a stroke, 
as provided by law 1 8. 

17. The striker-out wins a stroke if the server serve two 
consecutive faults ; or if he fail to return the ball in play ; or 
if he return the ball in play so that it drops outside of his oppo- 
nent's court ; or if he otherwise lose a stroke as provided by 
law 18. 

18. Either player loses a stroke if he return the service or 
the ball in play so that it touches a post of the net ; or if the 
ball touch him or anything that he wears or carries, except 
his racket in the act of striking ; or if he touch the ball with his 
racket more than once ; or if he touch the net or any of its sup- 
ports while the ball is in play ; or if he volley the ball before it 
has passed the net. 

19. In case any player is obstructed by any accident, the 
ball shall be considered a let. 

20. On either player winning his first stroke, the score is 
called 15 for that player ; on either player winning his second 
stroke, the score is called 30 for that player ; on either player 
winning his third stroke, the score is called 40 for that player ; 
and the fourth stroke won by either player is scored game for 
that player, except as below : If both players have won three 
strokes, the score is called detice ; and the next stroke won by 
either player is scored advantage for that player. If the same 
player wins the next stroke, he wins the game; if he loses the 
next stroke the score returns to deuce ; and so on, until one 
player wins the two strokes immediately following the score of 
deuce, when game is scored for that player. 



How to Make a Lawn- Tennis Net 67 



21. The player who first wins six games wins the set ; ex- 
cept as follows : If both players win five games, the score is 
called games all ; and the next game won by either player is 
scored advantage game for that player. If the same player wins 
the next game, he wins the set ; if^ he loses the next game, the 
score returns to games all ; and so on, until either player wins 
the two games immediately following the score of games all, 
when he wins the set. But individual clubs, at their own tour- 
naments, may modify this rule at their discretion. 

22. The players shall change sides at the end of every set; 
but the umpire, on appeal from either player, before the toss for 
choice, may direct the players to change sides at the end of 
every game of each set, if, in his opinion, either side have a dis- 
tinct advantage, owing to the sun, wind, or any other accidental 
cause ; but if the appeal be made after the toss for choice, the 
umpire can only direct the players to change sides at the end of 
every game of the odd or deciding set. 

23. When a series of sets is played, the player who served in 
the last game of one set shall be striker-out in the first game of 
the next. 

24. The referee shall call the game after an interval of five 
minutes between sets, if either player so order. 

25. The above laws shall apply to the three-handed and 
four-handed games, except as below : 

26. In the three-handed game, the single player shall serve 
in every alternate game. 

27. In the four-handed game, the pair who have the right to 
serve in the first game shall decide which partner shall do so ; 
and the opposing pair shall decide in like manner for the second 
game. The partner of the player who served in the first game 
shall serve in the third, and the partner of the player who served 
in the second game shall serve in the fourth ; and the same order 
shall be maintained in all the subsequent games of the set. 



68 Spring. 



28. At the beginning of the next set, either partner of the 
pair which struck out in the last game of the last set may serve, 
and the same privilege is given to their opponents in the second 
game of the new set. 

29. The players shall take the service alternately throughout 
the game ; a player cannot receive a service delivered to his 
partner ; and the order of service and striking out once estab- 
lished shall not be altered, nor shall the striker-out change 
courts to receive the service, till the end of the set. 

30. It is a fault if the ball served does not drop between the 
service line, half-court line, and service side line of the court, 
diagonally opposite to that from which it was served. 

31. In matches, the decision of the umpire shall be final. 
Should there be two umpires, they shall divide the court be- 
tween them, and the decision of each shall be final in his share 
of the court. 

ODDS. 

A bisque is one point which can be taken by the receiver of 
the odds at any time in the set except as follows : 

{a) A bisque cannot be taken after a service is delivered. 

{h) The server may not take a bisque after a fault, but the 
srriker-out may do so. 

One or more bisques may be given to increase or diminish 
other odds. 

Half fifteen is one stroke given at the beginning of the 
second, fourth, and every subsequent alternate game of a set. 

Fifteen is one stroke given at the beginning of every game 
of a set. 

Half thirty is one stroke given at the beginning of the 
first game, two strokes given at the beginning of the second 
game ; and so on, alternately, in all the subsequent games of 
the set. 



How to Make a Lawn- Tennis Net 



69 



Thirty is two strokes given at the beginning of every game 
of a set. 

Half forty is two strokes given at the beginning of the 
first game, three strokes given at the beginning of the second 
game ; and so on, alternately, in al? the subsequent games of 
the set. 

Forty is three strokes given at the beginning of every game 
of a set. 

Half court : The players may agree into which half court, 
right or left, the giver of the odds shall play; and the latter 
loses a stroke if the ball returned by him drop outside any of 
the: lines which bound that half court. 

THE BALLS. 

The balls shall measure not less than 2^f inches, nor more 
than 2\ inches in diameter ; and shall weigh not less than \\\ 
oz. , nor more than 2 oz. 








The May.Pole Dance. 



CHAPTER VI. 



MAY-DAY. 



Ho ! the merrie first of Maie 

Bryngs the daunce and blossoms gaie, 

To make of lyfe a holiday. 

|N the merry heart of youth the old song 
still finds an echo, and this day, with 
its relics of pagan customs, celebrat- 
ing, in the advent of spring, nature's 
renewed fertility, is a festival full of 
fun for the children. 

Some of the ceremonies of May- 
day, handed down from generation to 
generation, were brought to America 
in old colonial days by the English, 
but owing, perhaps, to the stern puri- 
tanical training of most of the early 
settlers, the customs did not thrive here as in the mother coun- 
try, and many of them have died out altogether. 

May-day is one of the many holidays still celebrated, that 
originated among the pagans ages ago, and it is said that the 
practice of choosing a May-queen and crowning her with flowers 
is a remnant of the ceremonies in honor of Flora, the goddess 
of flowers, which were held in Rome the last four days of April 
and the first of May. 

There was, at one time, a very pretty custom observed in 




72 spring. 



Merrie England of fastening bunches of flowering shrubs and 
branches of sycamore and hawthorn upon the doors of those 
neighbors whose good Hves and kindly habits were thus recog- 
nized by their friends. 

The maids and matrons of England formerly had a way of 
their owm of observing the day. On the first of May they would 
all go trooping out with the earliest rays of the morning sun, 
to bathe their faces in the magic dew, which glistened upon the 
grass once a year only, and was supposed to render the features 
moistened with it beautiful for the next twelve months. 

When the writer was a wee little girl there lived next door 
to her home two old maiden ladies, who always kept a bottle 
of May-dew among their treasures. Although the ladies in 
question had long since passed that period when maidens are 
supposed to be lovely, superstitious persons might have found 
confirmation of a belief in the power of the dew, when they 
looked upon the sweet and kindly faces of these old maids. 
Faith in the fabled efficacy of May-dew will probably lose its 
last adherents when the two old ladies, very aged now, leave 
this world ; but other pretty customs, from which all the super- 
stitious elements seem to have departed, should not be allowed 
to die out, and we intend this chapter on May-day sports as a 
reminder that May-day is a holiday and should be fittingly cele- 
brated by the older girls as well as the little children, who, in 
these times, seem to be the only ones to remember the day. 



May-day Sports. 

A May-day custom, and a very pretty one, still survives 
among the children in our New England States. It is that of 
hanging upon the door-knobs of friends and neighbors pretty 
spring-offerings in the shape of small baskets filled with flowers, 
wild ones, if they can be obtained ; if not, the window-gardens 



May- Day. 



73 



at home are heavily taxed to supply the deficiency. When the 
dusky twilight approaches, it is time for the merry bands of 
young folks to start out on this lovely errand of going from 
house to house, leaving behind them the evidence of their fly- 
ing visit in these sweetest of 



May-ofiferings. Silently ap- 
proaching a door, they hang 
a May-basket upon the knob 
and, with a loud rap, or ring 
of the bell, scamper ofif, and 
flee as though for life. 

These little Mayers are> 
sometimes pursued, but few 
are ever caught, for the recip- 
ients of the baskets know 
that to capture a child, carry 





Fig. 33. 



The Straw Basket. 



her into the house and treat her to sweetmeats, usually dear to 
the youthful palate, will not compensate the little prisoner for 
being held captive and thereby missing the fun going on among 
the other children. 



74 Spring. 



How to Make May-baskets. 

The dainty little baskets which are used by the Mayers are 
generally of home manufacture. They are made of almost any 
material, and in a variety of shapes. Some, constructed of card- 
board, are covered with crimped tissue-paper, or with gilt, 
silver, or colored paper. They are never large unless flowers 
are plentiful, and even in that case a small basket is prettier. 

Our first illustration represents a May-basket made of straws. 
Fig. 33 shows the frame of this basket, for which three straws 
seven inches long are required ; these are sewed together, two 
and one-half inches from the bottom, forming a tripod. For 
the sides eighteen straws are necessary, six on each side, of 
graduating lengths ; the three top straws being five inches long 
and the lowest ones three and one-half inches. These are sewed 
to the frame, log-cabin fashion, one upon another. 

The bottom of the basket is made of a three-cornered piece 
of card-board cut to fit ; three straws, two and one-half inches 
long, hold the base of the frame in position. A handle formed 
of three ribbons finishes off this May-basket very prettily ; a 
ribbon is tied to each corner of the basket ; the other ends 
meeting form a bow, as shown in the illustration. 

Birch-bark Baskets 

are quite appropriate for wild flowers, and one in the shape of a 
canoe can be made from a strip of bark six and one-half inches 
long and four inches wide. Fig. 34 gives the pattern of this 
basket. The dotted lines show where the ends are to be sewed 
together ; a ribbon sewed to each end of the canoe serves for a 
handle. 

Card-board Baskets, 

cut after the pattern Fig. 35, can be covered with gilt, silver, or 
crimped tissue-paper as desired ; paper lace or fringe is some- 



May-Day. 



75 



times placed around the edges of baskets of this kind, as a 
border to rest the flowers upon. The card-board basket shown 
in illustration is joined together by buttonhole stitching of col- 
ored-silk floss ; slits are cut in two sides and a ribbon slipped 




The Birch-bark Basket. 

through, the ends of which are tied in bow-knots to hold them 
in place. 

May-day Combat. 

This game, although suggested by the ceremonies which, ac- 
cording to Waldron, usher in the month of May in the Isle of 



76 



Spring. 



Man, is entirely new and bids fair to become popular, as it com- 
bines the elements of beauty, sentiment and mirth. 

A number of young people separate into two parties, each 
having its queen ; one the Queen of May, the other Queen of 
Winter. The May-queen and her attendants should be decked 
with flowers, Winter and her retinue being without decoration. 

Equipped with the ap- 
propriate implements of 
warfare between the two 
seasons, namely, a wreath 
of flowers for spring and a 
ball of raw cotton, or wool, 
representing snow, for win- 
ter, the contending forces 
draw up in opposing lines, 
the space between being 
about twelve feet. Each 
line is headed by its re- 
spective queen, who holds 
her missile in her hand. 





The Card-board Basket. 



Fig. 35. 



The game is commenced by the two queens simultaneously 
tossing the wreath and ball to someone in the opposite line, 
whose name is called as the missile is thrown. Should the per- 
son to whom it is thrown fail to catch 'it, she is made prisoner 
and must do battle on the other side, being released only when 
she succeeds in catching the missile belonging to her own party. 



May- Day. 77 



When the wreath and ball are caught, they are instantly 
tossed back to the opposite rank, and so the game goes on. 
Hostilities must cease when prisoners are being taken or released, 
to be recommenced when both sides ''announce themselves ready. 

If either queen is captured she is ransomed by the return of 
all the prisoners taken on her side ; should she have no prisoners 
to release, the game is ended. 

If the May- queen and her forces are defeated, they must 
strip off their floral decorations and give them to the victors, 
v/ho, decked in these trophies, become the representatives of 
Spring, and the Queen of Winter is made Queen of May and is 
crowned by her vanquished and dethroned opponent. The for- 
mer May-queen and her retinue, after offering their congratula- 
tions, must serve as attendants on the triumphant queen and do 
her bidding. 

When the May-queen proves victorious the programme is 
reversed, and Winter and her party become the subjects of May. 

The May-pole. 

An old writer, speaking of the May-games held in England, 

says, ''Their cheefest Jewell is their Maie-poole," and to leave 

the May-pole out of our list of May-sports would indeed deprive 

the day of one of its most important and prettiest features. The 

appropriate place for the May-pole is, of course, out of doors ; 

yet the climate in most of our Northern States is so changeable 

and uncertain it may be found necessary for comfort to hold the 

festivities in the house, and in that case the following directions 

for erecting the pole in a room of moderate dimensions will be 

found useful. 

• 
How to Erect a May-pole in the House. 

A May- pole from ten to twelve feet high is as tall as the 
ceilings of most rooms will admit. 



78 



Spring. 



The pole should be round, smooth, and about five inches in 
diameter at the base, growing gradually smaller toward the 
top. 

For its support a wooden box is necessary, the average size 
being three feet long, two feet wide, and one foot high. Re- 
move the top of the box, 
and directly in the centre 
of it cut a hole large enough 
to admit the pole. Take 
two sticks, two inches wide, 
and long enough to fit 
lengthwise in the box, and 
two shorter ones fitting the 
box crosswise, and nail them securely in the position shown in 
Fig. 36, driving the nails from the outside of the box. Slip the 
pole through the hole which has been cut in the top, and then 
stand it in an upright position between the four sticks in the 
centre of the box (Fig. 37). Be sure that the pole stands per- 
fectly straight ; then, before naihng down the top, fill the box 
with sand, bricks, or stones, packing them tightly around the 
pole ; this will give sufficient weight to prevent its tipping. 
Nail the top on, and cover the box with moss or green cloth, 
and bank it up with flowers. 




Fig. 36. 



How to Dress a May-pole. 

In olden times the May-poles were painted in alternate 
stripes of yellow and black, but a white pole is prettier and 
shows the decorations to better advantage. Tack the ends of 
eight or ten variously colored ribbons, one and one-half inch 
wide, around the pole near the top. For a pole ten feet high 
the ribbons should be four yards long. Around where the 
ribbons are fastened on, suspend a wreath of flowers, as shown 



May-Day. 



79 



in Fig. 38. Decorate the extreme tip of the pole with gaily 
colored streamers, or small flags. 



May-pole Dance. 

An even number of persons are required for this dance ; 
half the number take the end of a ribbon in the right hand and 
half in the left ; they then 
stand facing alternately right 
and left. When the dance 
commences, each dancer fac- 
ing the right passes under 
the ribbon held by the one 
opposite facing the left ; she 
then allows the next person 
going to the left to pass un- 
der her ribbon, and so, trip- 
ping in and out, under and 
over, the ribbons are woven 
around the pole. 

After continuing for a 
while, according to the above 
directions, the dancers sep- 
arate into two equal divi- 
sions, and each party, inde- 
pendent of the other, plaits 
a strip which hangs loosely 
from the pole. 

In performing this variation the two parties stand on either 
side of the pole, and all those facing the right pass on in that 
direction, going in and out as at first, until the last person go- 
ing to the right has passed the last person going to the left in 
her division ; then, transferring the ribbons to their other hands, 




Fig. 37. 



8o 



Spring. 



they all turn and reverse the order. Thus they continue, going 

back and forth until the plait is 
about a foot in length, when an- 
*other change is made by the two 
parties joining forces again ; this 
time, all those facing the left 
proceed in that direction, pass- 
ing under the ribbons of all the 
others who are going to the right, 
thus forming two circles, one 
within the other. After going 
twice around the pole in this 
order, the dancers composing 
the inner circle take the outside 
and the others pass bene&th their 
ribbons, again circling the pole 
twice ; then, after going through 
the first figure once more the 
dance may be ended, or the 
whole order may be reversed, 
and the ribbons, in that way, be 
unplaited again. 
An appropriate song, with words set to a dancing air, should 

be sung by those taking part in the May-pole dance. 




Fig. 38. 




..^•"^x 





CHAPTER VII. 

MIDSUMMER EVE. 

'N the minds of most of us, midsummer is 
associated with dry, dusty roads, 
parched vegetation, the shrill cry of 
the locust,* the shriller notes of the 
mosquitoes, and the hum of myriads 
of other insects ; but, girls, midsum- 
mer does not come at this time : 
astronomy fixes the date at June 
2 1st, the longest day of the year, 
when the leaves are still glossy green with the fresh sap cir- 
culating through their veins, giving them that healthy, juicy 
look so refreshing to the eye, and the h^at of the sun has not 
yet dried to a white powder the firm country roads over which 
we delight to wander. 

Ages ago the Pagans used to celebrate the day with rejoic- 
ing, because old Sol's bright face had broken loose from the 
clouds of winter, and the rain and mists of spring. They 
symbolized the revolution of the season by rolling great 
wooden wheels down the hill-sides ; sometimes attaching straw 
to the outer circle and setting fire to it at night, making a 
miniature midnight sun as it dashed down the steep incline. 

The people also believed that ill-luck rolled away from them 
with the fiery wheel, and to this day you will see Fortune or 



* Cicada, commonly known among children as the locust. 




Midsummer-eve Party. 



Midsummer Eve. 85 

Misfortune represented as travelling, like an acrobat at a circus, 
upon a wheel. 

All the elves, brownies, and fay^ were supposed to be on 
hand at midsummer night, and it is this old superstition that 
Shakespeare has so beautifully illustrated in his *' Midsummer 
Night's Dream." 

It was on midsummer eve that the supposed invisible seeds 
of the fern could be gathered which rendered the fortunate 
possessor invisible whenever he chose to carry them about with 
him. Among other strange and some quite pretty superstitions, 
there is a tradition that a coal, found attached to the roots of 
the mugwort or plantain on midsummer eve, will keep away 
rriisfortune and insure good luck to the finder. 

The girls of to-day who, although advanced enough to dis- 
card the superstitious element, can appreciate the poetic ideas 
symbolized by these ancient rites, may take hints for the enter- 
tainment of themselves and friends from the old belief in the 
mysteries and charms of midsummer eve. 

Games can be invented, and pretty keepsakes and souvenirs 
exchanged upon this night, that will translate ancient paganism 
into modern good feeling and fellowship. 

The New Fern-leaf Game. 

Some one who has charge of the games shows to the assem- 
bled girls and boys a fern-leaf, and explains to them the le- 
gend connected with it, and the power of the seed to render the 
possessor invisible. Next she blindfolds them all; then, choos- 
ing one from among them, she removes the bandage from the 
player's eyes without allowing the others to know who has 
been selected to be the bearer of the magic fern. After giving 
the fern-leaf into the keeping of the chosen one, she places the 
latter in the centre of a ring formed by the rest of the players, 
who take hold of hands and circle round ; then, still holding 



86 Summer. 



hands, they forward to the centre and return ; letting go hands, 
they forward again, this time the fern-bearer joins in the ranks. 
Once more the ring is formed and they circle round, singing 
these lines : 

Round goes the wheel, To the one who finds 

Round goes the year, The seeds of the fern. 

For woe or for weal, Misfortune and evil 

Midsummer is here. To good luck will turn. 

At the word " turn," each player seizes another and cries 
out, "fern, fern ! " at the same time removing the handkerchief 
from the eyes. 

To the one who really has captured the magic fern a pretty 
card or silk badge, bearing a pictured fern and some appropriate 
motto, is given, as a token that the entire company wish all 
possible good luck to the possessor. 

The Plantain Test. 

To test fortune in this way, fill a large pan or bowl with 
clean dry sand ; provide as many plantain-plants as there are 
players, and to the roots of all but one tie, with a narrow ribbon, 
a bonbon which contains within its wrapper a verse indicating 
that the wrong plant has been chosen. To the one reserved 
from the rest attach a small piece of coal, or charcoal, wrapped 
in a bonbon paper which also encloses a verse describing the 
magic powers of the coal. Place all of the plants in the sand, 
making them look as though growing there. All this should 
be prepared before the party assembles, that no one may know 
to which plant the coal is fastened. 

When the appointed time arrives, explain to the company 
that to the root of one of the plants in the bowl is fastened a 
coal which, according to old superstition, will secure to the 
finder perfect health for life. Then let each person in turn pull 



Midsummer Eve. 



87 



who finds the 
she is supposed 
and to be ex- 
The plantain is 



from the sand one of the plants. The one 
coal should be heartily congratulated, as 
to have gained the good will of fortune 
empt from all the ills that flesh is heir to. 
not difficult to secure, as it 
grows in almost every grass- 
plot, much to the annoyance 
of those who take pride in 
their lawns. Should the 
name be unfamiliar to some 
of our readers, the accom- 
panying illustration will help 
them recognize the weed. 

A pretty charm for the 
watch-chain can be made of 
the coal which is to bring the 
finder such good luck,* by 
having it cut to a proper size 
and shape, and a gold or sil- 
ver band put around it. This 
will make it a souvenir, carry- 
ing out the old idea that the 
magic coal should be worn 
upon the person to bring 

the coveted good fortune. Magic Plantam. 

Rhymes to be enclosed in the paper with the magic coal : 




Where my roots are intertwined 
Lo, the magic coal you find. 
Buried deep beneath the sand, 
Waiting for your favored hand, 



* Cannel coal is the best to use, for it is hard, will take a high polish 
like jet, and can be carved with a pen-knife. 



88 Summer. 



I have held it free from harm ; 
Take, and wear the mystic charm. 
From the lightning's deadly stroke, 
From the fire it may invoke, 
From all illness, pain, and strife, 
May it guard thee safe through life. 

Rhymes to be enclosed in bonbons tied to the roots of plan- 
tains which do not bring good luck : 

' Though ye seek, ye seek in vain 

Fortune's favor thus to gain. 
For I bring to you no coal 
To write your name on Fortune's roll. 



Pity 'tis you thought it best 

To pick out me from all the rest. 

For no root of mine comes near 

The coal that brings good fortune here. 



Chance capricious, captures choice ; 
Fickle Fortune favors few ; 
When deaf to love, or reason's voice, 
What makes you think she'll favor you ? 



I am no messenger of fate. 
You find this out, alas ! too late ; 
I bring no magic coal with me, 
From pains and ills to set you free. 

Any bright girl can scribble ofif little jingles of this sort that 
will do very well for the plantain test, or appropriate quotations 
may be selected for the purpose. 

Fortune's Wheel. 

Just where Fortune will fail each member of the company 
present is discovered in the following game : 



Midsummer Eve. 



89 



The entire party forms into a circle, standing about two feet 
apart ; then a wheel or hoop is started around the inside of the 
ring, and kept going by each one giving it a gentle push with 
the hand, sending it to the person next in the circle. As the 
wheel goes around the players sing these lines, pronouncing a 
word as each player touches the wheel, as if counting out. 

Fortune's wheel we speed along 

The while we sing our mystic song. 

Bring happiness, fame, power, and wealth, 

True love, long life, good friends, and health, 

Success in music, poetry, art, 

And with it all a merry heart. 

When the wheel drops at the feet of anyone as a gift of For- 
tune is being sung, or if they fail to strike it as it passes,' or, 
striking, they send it into the centre of the ring instead of to 
their next neighbor, it denotes that Fortune will withhold that 
special gift from them, and they must leave the circle, for good 
luck has deserted them. 

The game continues until only one player remains, and this 
person, who has succeeded in keeping the wheel moving, is 
Fortune's favorite, and will possess all the gifts the mythical 
Goddess can bestow. 











Staifish Portiere 



CHAPTER VIII. 



SEA-SIDE COTTAGE DECORATION 




%. IMPLY to enter a house is enough 
r..-'^-^ii'>. .<*-'/ ^Q start some people to planning 
how it can, might, or should be 
decorated. The love of beauty 
seems to be inherent in the femi- 
nine character, and it is the nature 
of most girls to make their sur- 
roundings as beautiful as circum- 
stances will permit. Those who 
have taste and ability for decora- 
tion can see no barren or homely 
room without being seized with 
the desire to banish its uncomeliness, and substitute grace and 
beauty in its stead. 

The ordinary cottage at the sea-shore is a boon to such 
natures, for it is peculiarly well adapted to amateur decoration. 
Its ceiled walls offer plain, even, flat tinted surfaces for any 
kind of ornamentation, and the absence of plaster makes it pos- 
sible to drive nails wherever it is desirable to have them. 

During a summer spent in one of these cottages on the coast 
of Maine, its many possibilities in the way of decoration were 
revealed, and personal experience has demonstrated that even 
the plainest of these temporary abiding-places is capable of be- 
ing greatly beautified in a short time, and with materials usually 



92 



Summer. 




Diagram of Ring. 



close at hand, being obtainable from the fishermen and from the 
sea itself. 

The windows first claim our attention in any house and our 
little cottage is no exception to the rule. With, or without, the 

regulation shades, windows should 
always be draped ; the formality of 
their straight lines and angles can be 
subdued in no other way. 

Light, airy curtains are suitable 
for summer, and the prettiest, most 
graceful window-drapery imaginable 
can be made of ordi- 
nary fish-net. An 
oar for a pole ; rings 
made of rope (Fig. 
39) ; the looping 
formed of a rope tied in a sailor's knot ; and a 
wooden hoop, such as is used to attach the sail 
to the mast on a sail-boat (Fig. 40) are all that 
are necessary for the completion of this nautical 
curtain. Small rings screwed into the oar, with 
corresponding hooks in the window-frame just 
above the window, will hold the oar securely in 
place. The looping should hang from a hook 
fastened in the wall near the window. The il- 
lustration given here will aid the imagination in 
picturing the effect of a window treated in this 
simple manner. Another pretty curtain may 
be made of unbleached cotton, with bands of blue at top and 
bottom covered with the ever- decorative fish-net. 

Gray linen curtains, with strips of the net set in as in- 
sertion at top and bottom, will also be found extremely 
pretty and serviceable ; or they may be composed of strips 




Looping for Cur- 
tains. 



Sea-side Cottage Decoration. 



93 



of linen and net, of equal width, ru/ining the length of the 
curtain. Made up in either way the effect is excellent. 




Sea-side Cottage Window 



From window-drapery we will turn to that suitable for the 
door-ways. Portieres, in a room where the prevailing tints are 



94 



Sujnmer. 



gray and light wood-color, should not present too violent a con- 
trast to those subdued tones. A curtain of wood-brown, neither 





Fastening End of Rope. 

too dark nor too light, will give the 
needed strength and decision, with- 
out destroying the harmonious col- 
oring. 
_ O n e 

Diagram of Tying Knot. i 

can ue 
quickly and easily made of brown 
canton flannel and decorated with 
dried starfish, as shown in the illus- 
tration of the starfish portiere. The 
starfish are soft enough to admit of 
being sewed to the curtain, and they 
should be placed with the underside 
out, as that is much prettier than the 
back, showing as it does two shades 
of. color. A heavy rope with a knot 
at each end, stretched taut across the 
door-way and held in place with two 
hooks, will answer for a pole, and the 
drapery can be hung from it with iron 
rings. If the rope is very heavy the 
ends will have to be parted into strands before the knots can 
be tied. Figs. 41 and 42 show the manner of tying the knot 
and fastening the end of a moderately heavy rope. 




Diagram of Book-shelves. 



Sea-side Cottage Decoration. 



95 



Book-shelves made of half of a flat-bottomed row-boat is not 
only an appropriate piece of furniture 
for a cottage by the sea, but also a very 
useful one. The fact of 
its shape allowing it to 




Row-boat Book-shelves. 



occupy a corner makes it a welcome addition to the furnishing, 
since there are so few things adapted to fill that angle. Fig. 43 



96 



Summer. 



shows half of boat with cleats nailed on to hold the shelves, 
which must be made to fit the boat. The shelves, when resting 
on the cleats, are secure enough, and need not be fastened in 
any other way. If the book-shelves, when finished, are painted 
black, unvarnished, they will have the appearance of being 
ebonized. 

The evidence of a womanly presence in the shape of a dainty 



fiff,44 



F 



/?>45J 





Diagram of Crab-net Work-basket. 

work-basket always gives a home-like look to a room, and when 
this useful trifle happens to be prettily designed it contributes 
not a little to the decorations. The standing work-basket rep- 
resented here is manufactured of a crab-net, with the handle 
removed, fastened to a tripod stand. 

The tripod maybe made of bamboo, or any kind of straight 
sticks about the length of a walking-cane. Upon one of the 



Sea-side Cottage Decoration. 



97 



sticks two notches must be cut ; one exactly in the centre, and 
the other at one side just below (see Fig. 44). The second stick 
needs but one notch, which should match the upper one on the 
first stick (Fig. 45). The third stick has no notches. 

To fasten them together, Fig. 45 must be laid across Fig. 44 
as in Fig. 46, and the two fastened together with screws. The 
third stick must then be placed 
across the others, fitting in the 
two upper notches ; this must be 
secured with two screws, one pass- 
ing through each of the other 
sticks (Fig. 47). 

The stand when finished 
should be painted black, and the 
crab-net, which has previously- 
been gilded, fastened in place by 
tying it on to each stick with a 
cord and tassel made of rope and 
gilded. Notches cut in the sticks, 
about three inches from the top, 
will afford a resting-place for the 
cord and keep it from slipping. 

The hat-rack, which our draw- 
ing represents, makes an excel- 
lent and convenient hall-decora- 
tion. The materials used in its 
construction are a small mirror, 
which can be procured at any country store ; four boards,, 
whose length and breadth depend upon the size of the mirror ;: 
two oars, with one-third of each handle sawed off ; one dozen 
large-sized nails, or small spikes, and a piece of rope about: 
twelve feet long. The frame is made by nailing the boards to- 
gether as shown in illustration, placing the end-boards on top^ 
7 




Crab-net Work-basket. 



98 



Summer. 



The opening left in the centre should be one inch smaller than 
the mirror. When eight of the spikes have been driven into 

the frame at regular distances 
the mirror must be fastened 
on the back with strips of 
leather or sail-cloth, as shown 
in diagram (Fig. 48). The di- 
agram also shows how the 
oars are held in place and 
the rope attached. The knot 





in which the rope is tied is 
called a true-lover's knot, 
and can readily be fash- 
ioned by studying the dia- 
gram. Small nails driven 
through the rope where it 
crosses the back of the oar 
will keep the loops from 
slipping out of place. The 

remaining four spikes are to suspend the hat-rack from, and 
must be driven into the wall so that two will hold the top 



Hat-rack 



Sea-side Cottage Decoration. 99 

loop, and the others the extreme upper corners of the side 
loops. 

The frame and oars may be painted black and the spikes and 
ropes gilded, or the whole will look well painted yellow or brown. 

A handsome screen can be made in the following manner : 
Procure a nice, firm clothes-horse, saw off the legs close to the 
bottom cross-piece, then cover the whole neatly, on both sides, 
with dark green cambric. Next tack smoothly on one side of 
each fold light-brown wrapping-paper, which comes quite wide, 
and may be bought by the yard. For the border use dark- 
green canton flannel cut in strips eight inches wide. Tack this 
around each fold of the screen with gimp-tacks, and paste the 
inside edges smoothly over the paper. 

The decorations of the screen shown in the illustration are 
composed entirely of products of the sea. 

Two panels are shown. One is decorated with sea-weed, 
dried starfish, and shells. Sea-weed and shells also are used 
on the other, but a group of horseshoe crabs take the place of 
the starfish. 

Sea-weed of various kinds suitable for this use can be found 
along the coast, and they may be gathered and dried in this 
way. Loosen the sea-weed from whatever it I3 attached to, and 
while still in the water slip a piece of stiff paper beneath it and 
lift it out. Quite a number can be carried on the same paper, 
but they should be taken home as soon as possible and placed 
in a tub of fresh water. The tub will give the larger kinds room 
to spread out, when a smaller vessel would cramp and rumple 
them. On sheets of paper, of the kind used for the screen, 
carefully lift each sea-weed out of the water, and with a small 
camel-hair brush straighten the parts that are too much folded, 
and separate those that lie too closely together. Should a plant 
be very much crumpled when taken out, quickly replace it in 
the water and try again. 



lOO 



Summer. 




Marine Screen. 



Sea-side Cottage Decoration. 



lOI 



When they have all been satisfactorily spread on the paper 
and have become partially dry, they must be pressed by laying 
the paper which holds the sea-weed on a piece of blotting-paper 
or folded newspaper, and 
over it a piece of linen or 
fine cotton cloth ; then 
over that another piece of 
blotting-, or news-paper ; 
then again the paper with 
sea-weed, and so on ; when 
all are finished the entire 
heap should be placed be- 
tween two boards with a 
moderately heavy weight 
on top. When the sea- 
weed is quite dry — which 
it will be in three or four 
days — it will be found that 
some varieties will cHng 
closely to the paper on 
which they have been 
spread, while others can 
readily be removed. Do 
not try to separate the first- 
mentioned kind from the 
paper, but with sharp 
scissors neatly trim off the 
edges around the weed ; 
the paper underneath be- 
ing the same as that of the 
screen on which it is to be pasted, it will not show. The other 
sea-weed can be taken from the paper and fastened to the 
screen with mucilage. 




Horseshoe Crab Bag. 



I02 



Summer. 



^^^^^i 




Vase. 



Before commencing the decoration some idea of the design, 
or the effect to be produced, should 
be decided upon ; then with deft fin- 
gers the articles used can be glued 
in place. When the glue is dry the 
whole must be given a coat of white 
varnish. This will help to hold things 
in place, and will also keep the sea- 
weed from chipping off. 

An odd little bag for holding 
fancy work is made of two large 
horseshoe crab shells, with a satin 
bag fastened between them and tied 
at the top with a bow of ribbon. The main part of the bag can 
be of cambric the color of the satin, cut to fit the shells, the 
puff showing at the sides 
being of the satin. 

A pretty little vase can 
be made of the shells of 
three sea-urchins, of grad- 
uating sizes, placed one 
upon another, the smallest 
on top. The small hole 
in the bottom of the larg- 
est one should be filled up 
with damp plaster-of-Paris- 
which will harden very 
quickly. The other two 
shells must have the small 
holes enlarged to the size 
of the one at the top ; they 
can then be joined togeth- 
er with the plaster, and the vase be used for flowers or vines. 




Candlestick. 



Seaside Cottage Decoration. 103 

A sea-urchin and good-sized starfish make the prettiest kind 
of a candlestick, and the addition of a brass-headed tack on 
every point but one of the starfish gives it a nice finish and 
furnishes feet for it to stand on ; the point left without a foot 
forms the handle by which it may be carried. The tacks 
should be stuck into the fish first, and then the sea-urchin 
fastened on with plaster-of-Paris. Not more than ten min- 
utes are consumed in making a candlestick of this kind, and 
it will be found to be quite as useful as it is pretty and 
unique. 

The walls of the cottage can be decorated in many ways 
with the beautiful ornaments the sea furnishes. Over one of 
the doors in the cottage alluded to at the beginning of this 
chapter there was an ornamentation that looked exactly like 
wood-carving, but was only a group of starfish arranged and 
tacked on the wall in a decorative form. The fish being nearly 
the exact color of the background, the deception was almost 
perfect. 

If the walls of a room are divided off into panels, and each 
panel decorated in the manner described for the screen, the 
effect will be most exquisite. 

On entering such a room one might almost imagine one- 
self to be a mermaid, and this a lovely chamber beneath the 
sea. 

So much can be done by one's own hands it depends great- 
ly, if not entirely, upon the taste or time one is willing to de- 
vote to it what this sea-side habitation shall be ; whether the 
little cottage shall be in harmony with its surroundings, seem- 
ingly a part of the place, or whether it shall be only a cheap 
frame-structure, looking as though it belonged in a country 
town and had been carried to the coast in a capricious gale of 
wind, with decorations, if it has any, inappropriate and unsuit- 
ed to the sea-shore. 



104 Summer, 



How to Dry Starfish. 

Collect the most perfect specimens of all sizes, wash them in 
fresh water, and then spread on a board in a dry place (not in 
the sun) and leave them undisturbed for a few days, or until 
thoroughly dried. 

How to Polish Shells. 

Wash your shells in clean, fresh water ; procure a small 
quantity of muriatic acid and have in readiness two-thirds as 
much water as acid. Place the shells in a basin, pour the water 
upon them, then the acid ; let them remain a few minutes, then 
take them out and wash again in clear water. Rub each shell 
with a soft woollen cloth. A fine enamelled surface can be given 
by rubbing them with a little oil and finely powdered pumice- 
stone, and then with a chamois-skin. 

To bleach fresh-water shells to a snowy whiteness, wash 
them perfectly clean and then put them in a jar containing a so- 
lution of chloride of lime, place the vessel in the sun, and, when 
the shells are sufficiently bleached, remove and wash them in 
clear water. PoHsh them in the manner before described. 




CHAPTER IX. 



A GIRL'S FOURTH OF JULY. 

CORATIONS are seen here, 
there, and everywhere. How 
beautifully the flags and 
streamers look as they wave 
in the breeze. All the houses 
and streets are gay with bunt- 
ing. We listen with a thrill 
of patriotic excitement to the 
national airs played by bands 
of music as the different pa- 
rades pass our doors. 

The spirit of independence 
fills the very air we breathe. Whiz ! zip ! bang ! go the fire- 
arms. The noise is enchanting and the smell of powder de- 
lightful. 

This is our grand national holiday, the glorious Fourth, 
when all the United States grows enthusiastic, and in various 
appropriate ways manifests its patriotism. 

The celebration, commencing in the early morn and last- 
ing until late in the evening, gives ample time for fireworks, 
games, and illuminations. And the girls can take active part 
in, and enjoy these martial festivities, help to decorate the house 
and grounds, and in the evening do their part toward the illu- 
mination. Then there are the beautiful daylight fireworks to 





The Fourth of July Party. 



A Girl's Fourth of y^dy. 107 

■be sent off, and games to be played ; all adding to the enjoy- 
ment and making up their celebration of Independence Day. 
Although 

Interior Decoration 

for the Fourth of July has not been considered as necessary as 
the decoration for the outside of the house, still it is appro- 
priate and used to some extent, especially when the house is 
thrown open to guests. Then, with a little thought and care 
the home may be decked and adorned in the most attractive 
manner. 

If you chance to be the happy possessor of the portrait of 
some revolutionary ancestor, let this form the centre of your 
decorations. 

Bring forward any relics of the colonial times and make 
them hold a prominent place, for all such things are historical 
and of great interest, though of course they are not essential. 
Strips of bunting, cheese-cloth, or tissue-paper, in red and 
white and blue are necessary, and must do their part in adding 
to the gayety of the scene. These can be arranged in festoons, 
and made into wreaths, stars etc., to be used as ornaments on 
the wall. 

There is nothing, perhaps, more appropriate for decoration 
than flags, though it requires some ingenuity to decorate with 
our American flag on account of the blue being in one corner. 
However we will try. Take two flags without staffs and baste 
them together as in Fig. 49, bringing the blues side by side ; 
pleat up the top of each to the centre and you will have Fig. 
50 with the stripes at the bottom running from end to end. 

Now take two more flags reversed, the stripes being at the 
top the stars at the base, and pleat them in the centre, it gives 
the same idea in another form. For this style of adornment use 
the flags which may be had at any dry-goods store ; they come 



io8 



Smnmer. 



by the bolt, cost but a few cents each, and are much softer and 
fold better than the more expensive glazed ones. Other modes 
of draping the stars-and-stripes will suggest themselves : place 




the ''colors" in different positions until some good design is 
found, and you will enjoy it all the more for having made the 
combination yourself. 




fXg.JO 

Tiny flags fastened to the chandeliers, and pinned in groups 
on the curtains give to the room quite a holiday appearance. 
This is for the daylight. In the evening we will have 

In-door Illumination, 

which can be made very brilliant by simply using a number of 
lighted candles. 

Should you desire to have it more elaborate, the words 
Liberty and Independence can be printed on the windows by 
cutting the letters forming the words from thick paper and gum- 



A Girrs Fourth of yuly. 109 

ming them to the window-panes, so when the room is lighted 
they will show plainly from the outside. 

You may also make of tissue-paper a Liberty-bell, Goddess 
of Liberty, American Eagle, and flags. Gum these on the 
edges and fasten them to the windows ; place a bright light 
behind them and the tints of the paper will shine out in all 
their brilliancy. The Goddess of Liberty's face, the feathers 
on the eagle, and the lettering on the bell must all be drawn 
with a paint-brush and ink or black paint. 

In making any or all of these, it will be of great assistance if 
you secure a picture of the object to cop)^ from. 

Having provided for the inside of the house it now behooves 
us to turn our attention to 

Out-of-door Decoration 

consisting principally of flags raised on poles, hung from win- 
dows, and disposed in numerous and various ways. 

The many devices representative of our country may be 
used with good effect- Thus, a large United States shield can 
be made of colored paper or inexpensive cloth tacked on a 
piece of card-board, cut in the desired shape, and the shield sus- 
pended from the window flat against the house, as a picture is 
hung on the wall. Other emblems can be manufactured in the 
same way. 

Small trees or tall bushes covered all over from top to bot- 
tom with flags and streamers look beautiful, and all the gayer, 
when the wind blows, causing them to wave and flutter. 

Fasten the flags and streamers on the tree with string. 

Some girls think that the 

Illumination in the Open Air. 

is best of all, for then they can give their fancy free play, and 
create all sorts of odd and novel designs. 



no 



Summer, 



The bright-colored Chinese lanterns are very decorative. 
Suppose we begin with these. Fasten securely here and there, 




/i>J/ 



on the lawn, large paper Japanese umbrellas in upright positions. 
This is accomplished by binding the handles of the umbrellas 




^-J3 



Fiff.JZ 



securely to poles which have been sharpened at one end, and 
planting the pointed end of the poles firmly in the ground. 
From every other rib of the umbrella suspend a lighted 



A Girl's Fourth of J-uly. iii 

Chinese lantern by a wire long enough to prevent any danger 
of setting the little canopy on fire. The effect produced is 
both novel and pretty. 

A popular method of arranging the lanterns is stringing 
them on wires, stretched from house to house, or from tree to 
tree, so forming, as it were, a fringe of lights. 

Again, they may be placed at intervals on the ground, fast- 
ened to trees or hung on the piazza, some in groups of twos or 
threes, others singly, these being of many odd shapes and 
sizes. Piazzas are very good sites for the display of colored 
umbrellas, which may hang, inverted, from the ceiling, with a 
tiny lighted Chinese lantern suspended from each rib. Let me 
repeat, be careful not to have the wires so short that the light 
is in dangerous proximity to the umbrella. 

Another pleasing illumination is to make a large flag of col- 
ored-paper with strong pieces of tape pasted along both top 
and bottom, the ends of the tape extending beyond the flag. 
Tie the tape to two trees, poles, or pillars of the porch, and 
place a light back of the flag, to bring out the colors clearly 
and distinctly. 

Illuminated tents are made by placing poles in the fashion 
of Fig. 51, and using large flags, low-priced colored cloth or 
strong paper as a covering. Fig. 52. The corners are tied 
down to pegs in the ground, and, when two or three candles 
are set in the tent, the effect is very pleasing. 

All young people delight in the noise and excitement of 

Fireworks, 

and here are some pyrotechnics which any girl can easily make. 
They are daylight fireworks, and most of them may be sent 
off from a balcony or window, and all with no danger of fire 
or burns. 



112 



Summer. 



One of the simplest to try is the 




Fi^.SS 



Fig. J 4' 



Parachutes. 



Parachute. 

Cut a piece of tissue-paper five inches square, twist each cor- 
ner and tie with a piece of thread eight inches long, Fig. 53 ; 

wrap a small pebble 
in a piece of paper 
and tie the four 
pieces of thread se- 
curely to the peb- 
ble, Fig. 54. This 
makes a light airy 
little parachute, 
which, when sent 
out from the win- 
dow, will, with a 
favorable wind, sail 
up and off over the house-tops. Make a number of parachutes 
in different colors and send them off one after another in suc- 
cession. Next we will have what 
we call 

Thunderbolts 

fashioned of bright-colored tissue- 
paper. Cut the paper in pieces 
four inches wide and eight inches 
long. Then cut each piece into 
strips reaching about one-third of 
the length of the piece of paper 
(Fig- 55), pinch the uncut end of 

\ i3 jjj^ f ^ ^ Thunderbolts. 

the paper together and twist it 

tightly so that it will not become undone (Fig. 56). Open 

the window and throw these out a few at a time. They will 





A Girl's Fourth of yuly. 113 

turn heavy end down and dart off with the fringed end flutter- 
ing. Now and then they will waver a moment in one spot, and 
then dart off in another direction ; so they go whirUng, zigzag- 
ging and bowing as if they were ahve. 

Something different from these are the comical little 

Whirls, 

made by cutting circular pieces of writing- or common wrap- 
ping-paper into simple spiral forms (Fig. 57). The centre of the 
spirals are weighted by small 
pieces of wood, or other not too 
heavy substance gummed on the 
paper. 

When a number of these are 
freed in mid-air the weight will 
draw the spirals out, and present 
a curious sight, as with serpen- „. ^^ 

tme motion they all come wrig- whirls, 

gling and twisting toward the 

ground (Fig. 58). In these paper fire-works, we know of noth- 
ing prettier than the 

Winged Fancies, 

consisting of birds and butterflies. 

The birds may be cut out of wrapping-paper, measuring 
seven and a half inches long and ten inches from tip to tip of 
the wings (Fig 59), a burnt match stuck in and out of the neck, 
will give the bird sufficient weight. When tossed from a height 
these paper swallows fly and skim through the air in the most 
delightful birdlike fashion. 

Both birds and butterflies are folded through the centre 
lengthwise, then unfolded and straightened out, this helps to 
give them form and they fly better. 
8 




114 



Summer, 



The patterns here given are possibly not as graceful in shape 
as could be made, but the writer drew the patterns from the 

best fliers among an 
experimental lot of 
winged fancies, hav- 
ing found them better 
than others that could 
boast of more beauty. 
Butterflies are 
made of bright col- 
ored tissue-paper cut 
from the pattern (Fig 
60), and have short 
pieces of broom- 
straws as weights. 
These also should be 
lightly thrown from a height, when they will flutter and fly 
downward, sometimes settling on a tree or bush as if seeking 
the sweets of flowers, 
and appearing very 
bright and pretty as 
they float hither and 
thither on the air. 

A ring of the ever- 
twirling 




Fip.J9 
The Bird. 



Pin-wheels 




Fi</.60 
The Butterfly. 



is gay and attractive, 
just the thing for the 

lawn on the Fourth of July. To manufacture one, select a nice 
firm barrel-hoop, and nail it securely on one end of a clothes- 
pole or broom-stick (Fig. 61), sharpen the other end of the pole 



A Girl's Fourth of jFuly. 



115 




to a point ; if the hoop seems inclined to split when nailing, 
first bore holes with a gimlet or burn them 
with a red-hot nail or wire for the nails to 
pass through. 

Cover the barrel-hoop several inches 
deep with straw, lay the straw on and tie 
it down with string. 

Prepare a number of pin-wheels by- 
cutting squares of red and white and blue 
paper, fold them twice diagonally through 
the centre and cut the folds up within a 
short distance of the middle. Turn .over 
every other point to meet the centre, 
pierce the four points and the centre with 
a pin, then fasten the pin firmly to the 
end of a stick. The pin must be left long 
enough to allow the paper to turn easily. 

Stick the straw wreath full of pin- 
wheels, then plant the pole securely in the 
ground and you will have a ring of Fourth 
of July pin-wheels which will look pretty 
all day long. 

Be sure to place the wreath facing 
the breeze, so the pin-wheels may be kept in constant mo- 
tion. Reserve the 



V 



Pin-wheel. 



Bombs 



until the last. They are simple in construction, but quite start- 
ling when they go off. 

Fasten together two very stiff flat pieces of steel (Fig. 62), 
those sold for the back of dress-skirts work well, and use 
a strong string many yards long to tie them with. Bring 
up th.e four ends of the steels and tie them with a slip knot 



ii6 



Summer. 



(Fig. 63), in order that it may easily fly open. Place the cage 
thus formed in the centre of a square piece of tissue-paper. 

Now cut strips of different colored tissue-paper, four inches 
long, and twist each piece at one end. 

Put these in the centre of the cage and bring up the four 

corners of the 
square of paper, 
allowing the 
string to come 
out of the top. 
Twist the corners 
together and close 
up the small open- 
ings by folding 
over the edges of 
the paper. This 




makes a bomb somewhat re- 
sembling a common torpedo 
enlarged to many times its 
original size. 

Pass the string through a ''^* 

screw-eye which has been screwed in the end of a flag-pole or 
broomstick, and place the pole out of the window. Then drop 
the end of the string down to the lawn below. Fasten one end 
of the pole in the window by binding it firmly to a strong, 
heavy chair, or secure it in any other way most convenient so 
there will not be the slightest danger of its falling. 



A Girl's Fourth of yuly. 117 

Everything being ready, descend to the lawn, and pull the 
string so the bomb will rise slowly up to the pole. 

When it is within a short distance of the screw-eye, give the 
twine a sudden sharp jerk which will cause the bomb to come 
in contact with the pole with sufficient force to untie the slip- 
knot, the elastic-metal ribs will fly back causing the bomb to 
burst and fill the air with bright shreds, flying, gliding, and 
darting everywhere in the most eccentric manner, making the 
air brilliant with floating colors. 

Let your Fourth of July 

La"wn Party 

partake of the patriotic traditions, and as far as possible help to 
celebrate our Nation's birthday in an appropriate manner. 

Paper fire-works may form part of the entertainment, it 
being optional with the hostess whether they come before or 
after the games, or are interspersed between them. 

The party opens with the signing of the 

Declaration of Independence. 

To each guest is given a brown-paper bag, and when all have 
assembled on the lawn, the hostess steps forward facing the 
company, and asks all to kindly keep quiet and listen for a 
few moments while she reads or repeats their Declaration of 
Independence, she then reads : 

We girls are, and of right should be, free and independent 
of all boys' sports, having resources and amusements befitting 
the celebration of the Fourth of July, independent of all those 
belonging exclusively to boys. 

Then follows the signing of the same, by each in turn writing 
her name beneath the declaration. This accomplished, the 
hostess gives the signal and each guest fills her bag with air. by 



ii8 Summer. 



holding it close to her mouth, gathering it tightly around, and 
blowing into it, then grasping it firmly in the right hand, being 
careful not to let any air escape. 

At another signal, all simultaneously bring their hands 
forcibly and quickly together, striking the paper bags with the 
left hand, which bursts the bags and causes a report almost 
equal to that of pistols. 

All the bags exploding at one time, gives a salute worthy of 
the name and creates much merrimient. 

The salute may be varied by bursting the bags in quick suc- 
cession, so that it will sound something like a volley of musketry. 

This introduction is followed by games to be played on the 
lawn. 

For the new game of 

Toss, 

make nine disks of card-board, painted or covered with paper, 
red and white and blue, three of each color. 

Place in the centre of the lawn a fancy waste-basket, and let 
each player in turn stand at a distance of six feet from the bas- 
ket. It is better to have the station marked by a stone or stick, 
at the place designated. 

If played by sides, two stations, one on either side of the 
basket will be necessary. 

The object of the game is to throw the disks into the basket, 
and they are valued according to color ; red counts one, white 
two, and blue three. 

If played by sides, each side should play five rounds, ninety 
being the highest possible tally for any one player. 

This is an easy and pleasant game, and may be played with 
or without sides. The hostess keeps account, and at the end of 
the game gives a knot of red, white, and blue ribbons as a prize 
to the one having the highest score. 



A Girl's Fourth of yuly. 



119 



We hardly recognize our old friends in the new and gigantic 



Fourth of July Jackstraws. 

These are all in holiday attire, and so much larger than any we 
have seen that they are even rpore attractive, and afford greater 
amusement than those which we have hitherto enjoyed. 

It does not take long to make them. Cover a number of 
light slender sticks, three or four feet long, with paper or cloth, 
some red, some white, and others blue. The colors count respec- 
tively, red one, white two, and blue three. Provide another 
longer stick with a hook in one end to be used in taking the jack- 
straws from the pile. 

Stand the sticks up so as to meet at the top, and spread out 
like a tent at the bottom. Each player then takes the hook in 
turn and tries to remove a jackstraw, without shaking or throw- 
ing down any of the others. The one scoring the highest, wins 
the game and is entitled to the prize. 

Progressive games seem to be very 
popular, and deservedly so, as they 
possess an interest peculiarly their own. 

Here is a new and novel one, called 

Progressive Mining. 

It is played with flower-pots filled with 

sand or loose earth, called mines. A 

small flag on a slender staff is placed 

upright in the centre of each flower-pot 

(Fig. 64). The staff should be stuck /j^.^^ 

down in the sand only just far enough 

to keep it steady in its position. Each player in turn removes 

a little sand from the mine with a stick called a wand, taking 




I20 



Summer. 



\ 

o 

I - 



^4. 



{t 



^ 



me 



|f4 



?> 



great care not to upset the flag ; for the one causing the flag 

to fall loses the game. The number 
of mines needed will depend upon 
the number of persons playing, as 
one flower-pot is required for every 
two players. 

Each one taking part in the game, 
is provided with a wand. Slender 
bamboo canes make excellent wands, 
and may be decorated with red, white 
and blue ribbons, tied on the handles. 
Should the canes be difficult to pro- 
cure, then any kind of light slender 
stick will serve the purpose. 

The hostess should prepare blank 
envelopes, each containing a ribbon 
badge, or score sheet, of different 
colors, two of each ; these are all 
numbered, the figures being painted 
or pasted on the ribbons to designate 
the place to be taken, thus two reds 
are marked I, meaning that they are 
to occupy the first or prize mine. The 



^^^^iiiiiiliiBte- 



^ 



i 



^ 



J 



\i 




II 



is: 



Jf&ii 



blues are marked 2, showing that 
they take the second mine, and so on. 
The last or lowest place is called the 
booby mine. Each badge should 
have a small pocket attached (Fig. 
65), for holding stamps ; these are cut 
in any desired form from gold and 
silver paper, which has previously 

been covered with mucilage on the under side, like a common 

postage-stamp. 



A Girl's Fourth of yuly. \2.i 

The hostess passes around the envelopes, each guest takes 
one, and upon opening it discovers where and with whom she 
is to play. 

The preliminaries being settled, and all having taken their 
places, the hostess starts the game by ringing a little bell. 

When one of the players at the prize mine upsets the flag, 
the other calls out prize ^ and if the flags have not already fallen 
in the other mines, the couples play as quickly as possible until 
all the flags are down. 

The winner at the prize mine fastens a gold stamp on her 
ribbon badge, while the loser at" the booby mine, ornaments 
hers with silver seal. 

The game is now rearranged, the winner at the prize mine 
remains at her station, and the loser goes down to the booby 
mine, while all those winning at the other mines move up, each 
one respectively to the next higher mine, for it is only at the 
prize mine where the loser moves her place and the victor re- 
mains stationary. 

When these details are settled, the flag-staffs are again planted 
in the flower-pots and the signal given for a new game. 

The player with the largest number of gold stamps on her 
score-sheet, receives the victor's prize, and the one having the 
most silver stamps is entitled to the booby prize. 

The prizes are given when the game is ended. They should 
consist of some pretty little article made by the hostess herself, 
and, if practicable, appropriate to the day, such as a delicate 
satin sachet in the form of a Liberty bell, with the lettering 
painted on it. 

A pretty pin-cushion, with a cover made of a miniature silken 
flag, or a dainty pen-wiper in the shape of Liberty's cap. Other 
more expensive gifts are not in good taste. 

The booby prize should be something grotesque or comical. 

As the mothers and sisters of 1776 took a full share in the 



122 



Summer. 



hardships and trials of the Revolution, and actively assisted in 
gaining our independence, it is eminently fit and proper that 
American girls should show their appreciation of such bravery 
and heroism by assisting in the annual celebration of our 
famous Independence Day. 

Fourth of July seems heretofore to have been considered 
altogether too exclusively a boy's holiday, and it is with a 
hope of stimulating a renewed activity, and awakening in the 
heart of every girl in the United States a sense of proprietary 
interest in the day, that we suggest new methods of celebrat- 
ing our national holiday. 





CHAPTER X. 
PRINTING FROM NATURE'S TYPES. 

^AST summer we made some lovely 
impressions of flowers, leaves, and 
sprays ; then we tried landscapes 
and all sorts of beautiful designs. 

It is really delightful and fasci- 
nating work. You are led on and 
on, always with a fancy to try some- 
thing else to see how it will come 
• out, and seldom, if ever, is it a dis- 

appointment or failure, a new interest being felt with every 
fresh print made. Moreover, you are sure of having your pict- 
ure original and the only one of its kind, for as no two flowers 
or leaves are precisely alike, so no print can be an exact copy 
of another. And then it takes only a few moments for the work 
which could not be accomplished in thrice the time should a 
drawing be made of the same design. 

Let me tell you how to make an ** Impression Album" a 
book of printed flowers and leaves. You who have house- 
plants will find it a delightful winter recreation, a novel pleas- 
ure, and you can enjoy the pretty work even more during your 
summer vacation, with wild flowers at your command. 

The ** prints " are taken from the natural flowers or leaves 
themselves. Girls who have no knowledge at all of drawing 
or of printing can with little trouble make these Impression Al- 







Making Prints. 



Printing from Natures Types. 



125 





Fink Oxalis. 



bums, and students of botany will find the work supplies valu- 
able memoranda of leaves and plants, as the print preserves de- 
tails of the form, fibre and veining of 
foliage and petal such as no drawing or 
photograph can. The printing can be 

made wholly- 
accurate, giv- 
ing all the 
minutiae of 
construction. 
' The tools 
required to 
make these 
print-pictures 

are simple, and consist of a piece of 
glass, a palette-knife or table-knife and 
some printers' ink which comes in 
small tin boxes and can be procured at 
any stationery store, and a pad made 
of a ball of cotton 
tied in a piece of 
soft silk or satin. 

The printers' 
pad used by the 
writer for spread- 
ing the ink, was 
manufactured 
of the satin lining taken from a gentle- 
man's old hat, and answered the purpose 
admirably, being a good size, measuring 
nearly four inches in diameter. The album 
itself may be a common blank-book, with every other leaf cut 
out, in order to make room for the prints, which are on pieces 



Smilax. 




Evergreen Moss. 



1 26 Summer. 



of blank unruled paper of uniform size, and small enough to fit 
in the album and leave a margin all around the piece inserted, 
so that the book when opened may be neat and attractive. 
Having all your tools at hand, select the leaves you wish to 
print. These must be free from dust or dew and perfectly fresh. 
First, with your knife, place a small quantity of printers' ink 
on the piece of glass and smooth it as evenly as possible over 
the surface. Then press the printers' pad down lightly, lifting, 

and again pressing, until the 
ink is evenly distributed on the 
pad ; next, select a leaf and 
place it face, or right side, down- 
ward on a piece of folded news- 
paper; press the inked pad down 
on the under side of the leaf, 
which is now, of course, lying 
upward, repeating the operation 
until the leaf is sufficiently cov- 
ered with ink. Carefully place 
the leaf, inked side down, on 
the centre of the piece of paper 
you have previously cut for the 
album ; over this lay a piece of 

Skeleton G-eranium Leaves. ,, 

common yellow wrappmg-paper, 
or any paper that is not too thick or stiff, and rub the finger 
gently all over the covered leaf. Remove the outside paper 
and very carefully take up the leaf. You will find an exact 
impress of the natural green leaf showing every one of the deli- 
cate fibres. 

The picture is now ready to be pasted in the album, with a 
thin, delicate paste, touching only the corners. It is a good 
plan to write under each leaf the name of the plant or tree from 
which it was taken, with the date, and such facts as you would 




Printing from Nature's Types. 



ITT] 



like to recall. Very valuable botanical collections can thus be 
made. Flowers are more difficult to print than leaves, owing 

to less ** relief" in the films; 

, . still they make charming pict- 

rjfr V ures when successfully 

treated, sometimes 




A Winter Landscape. 
Printed from Nature's Type. 



having the appearance of photographs of flowers with all the 
lights and shadows. 



128 



Summer. 



When printing flowers, proceed in the same manner as with 
the leaves. Sweet peas, roses, daisies, wild carrot, clover, and 
verbenas, all make beautiful impressions which look like pho- 
tographs. Grasses of various kinds also print well. 

In making a spray, it is best to have a definite idea of the 
form you desire it to take. If possible secure as a copy a nat- 
ural spray of the kind you wish to print. Then first print all 
the leaves in the positions they are to occupy, and connect them 
by drawing in the branch with pen and India-ink. 




The Winter Landscape is printed from dried twigs, grasses, 
and little leafless plants, so arranged as to resemble trees and 
shrubbery. 

Only have a little confidence and you can make etchings 
from nature. Should you 'not understand drawing or compo- 
sition, do not be discouraged ; obtain a picture to copy, and 
then hunt up little plants and soft twigs as nearly as possible 
corresponding in shape and character to the trees in the copy ; 
in this way you can produce very creditable landscapes. 



Printing from Natures Types. 129 

Botanical impressions may be used for ''fancy work" by 
being printed on satin, and the decorated satin made up as 
though it were painted or embroidered ; patches for silk quilts 
have been prettily decorated by this process. The printings 
also make beautiful patterns for outline work, much truer to 
nature than those made in any other manner and afford infinite 
variety for *' borders" and ''corners." Even satin dresses can 
be beautifully ornamented with impressions of leaves instead of 
the " hand painting " so long in use. You can, of course, see 
that should several colors of printers' ink be used, beautiful 
combinations and pleasing variety would be obtained, and that 
probably some unique and novel decorations would be se- 
cured. 

Letter-paper ornamented with a delicate design printed from 
nature's types is very dainty and pretty, and in many other 
forms can these simple and beautiful decorations be used. 

Then bring leaves and blossoms from the woods or door- 
yard, and half an hour may be delightfully spent in printing 
"impressions" which will teach a lesson in botany, while the 
great variety of leaf forms, difference in texture, fibre, veining 
and finish cannot fail to attract your attention and call forth 
your admiration. 





Corn Roast. 



CHAPTER XL 




PICNICS, 

BURGOOS AND 

CORN-ROASTS. 



RACES of foreign ances- 
tors are apparent occa- 
sionally in most of us, 
true Americans though 
we be. It is perhaps a 
spice of gypsy blood in 
our veins that sets our 
pulses throbbing with 
pleasant excitement 
when, seated in an old hay- wagon, we go bumping and thump- 
ing down the road prepared for a delightful holiday. 

With camp-kettle swinging beneath, and cofifee-pot stowed 
safely away within the wagon, do we not feel able to provide as 
savory dishes for our picnic dinner as any concocted by the gyp- 
sies themselves ? Surely no coffee is ever so delicious as that 
cooked over the camp-fire, albeit it tastes somewhat smoky 
when prepared by hands inexperienced in the art of out-door 
cooking ; but if the fish we broil is a little burned, and the 
baked potatoes rather hard in the middle, who cares ? Hearty, 
healthy appetites, which the early morning drive through the 
fresh, exhilarating air has developed, laugh at such trifles and 



132 Summer. 



dinner is voted a success in spite of sundry mistakes and mishaps 
in its preparation. 

There are picnics and picnics. When one drives out in a 
fine carriage to meet a fine company, and partake of a fine lunch 
prepared by fine servants, is one kind. 

When one goes with a large party, on a boat, and takes a 
lunch of sandwiches, cake, pickles, hard-boiled eggs, etc., 
which is spread on the grass at the landing and eaten as quickly 
as possible, is another kind ; but the picnic most enjoyed by 
young people who are not afraid of a little work, which is only 
play to them, is the one where the raw materials for the dinner 
are taken and the cooking, or most of it, is done, gypsy fash- 
ion, by the picnickers themselves. 

A pleasant innovation in the ordinary routine of a picnic is 

A Burgoo. 

Thirty or forty years ago the men of Kentucky, in celebra- 
tion of a holiday, would get up what they called a burgoo. In 
character it was very much like the clam-bake of to-day, but 
instead of chowder, or baked clams, the company prepared and 
partook of a soup or stew made of almost everything edible. 
Early in the morning the party would meet at the appointed 
place and decide what each should contribute toward the mak- 
ing of this most delectable stew. 

Those who were fond of hunting would go forth in search of 
birds, squirrels, rabbits, and game of all kinds, with which the 
woods were filled. Some caught fish, and others provided fowl, 
pork, vegetables, and condiments. 

As the ingredients were brought in, those who had charge of 
the cooking prepared and dropped them into an immense pot 
which, half full of water, was suspended over a roaring fire. 

When everything of which the stew was composed was 



Picnics^ Burgoos^ and Corn-roasts, 133 



cooked to shreds, the burgoo was pronounced done, and was 
served in tin cups, and eaten with shell spoons, made by split- 
ting a stick and wedging a mussel-shell in the opening. 

That this was a most appetizing feast I know from an old 
gentleman who has frequently attended the burgoos and par- 
taken of the stew. Of course at a picnic composed of girls and 
boys, it would not do to depend upon the game which might 
be shot and the fish which might be caught, for the dinner, but 
the burgoo should be adapted to the ways and means of the 
party, and each member should provide something for the stew. 
The following recipe will make enough for fifteen or twenty 
persons. 

Burgoo Stew. 

Two pounds of salt pork, the same of lean beef; two good- 
sized chickens, or fowls of any kind ; two quarts of oysters, the 
same of clams ; twelve pota- 
toes, four turnips, one onion, 
two quarts of tomatoes, and 
any other vegetables which 
may be obtainable. Make a 
bouquet of parsley, celery, 
and a very little bay-leaf, 
thyme and hyssop, tied to- 
gether with thread. 

Put the beef, fowl, pork, 
oysters, clams and a handful 
of salt in a large iron kettle, 
three-quarters full of water ; 
skim it before it begins to _^ 

boil hard, and add the other _-:-^:^^~~^- fic/M - ;:^, . 
ingredients ; keep the kettle covered and boil until the bones 
fall from the meat. Serve hot with crackers. Wild game and 




134 Summer, 



fish may also be added to the recipe. When a burgoo is 
decided upon, it is best to prepare a light lunch to be eaten 
about eleven o'clock, and have the heartier meal at four or 
five in the afternoon, as it requires some time for the stew to 
cook. 

Our illustration shows four ways of suspending the kettle 
over the fire. While the girls are preparing the ingredients for 
the stew, the boys will build a fire in some such fashion as is 
shown upon page 135, and put the kettle on. The best way to 
boil coffee is to make or build a kind of little stove of stones 
and mud, and set the coffee-pot on top, as shown in Fig. 66 ; 
this will prevent the smoky taste it is apt to have when placed 
directly on the fire. 

A Corn-roast. 

During the season when green corn is plentiful, there is no 
better way of having a real jolly time than by getting up a corn- 
roast. It is not as elaborate an affair as the burgoo. Some 
green corn, a long pole sharpened at one end, for each mem- 
ber of the party and a large fire built in some open space where 
there will be no danger of causing conflagration makes us ready 
for the corn-roast. 

Several summers ago a gay party of friends from New 
York and vicinity took possession of and occupied for a few 
months a little cottage at a place on the coast of Maine called 
Ocean Point. 

Toward the end of August, when all places of interest had 
been explored, when the stock of shells, star-fish, and such like 
treasures had grown beyond the accommodation of an ordinary 
trunk, and the minds of the sojourners were beginning to be 
filled with thoughts of a speedy return home, green corn, for 
the first time that summer, made its appearance. This was 
hailed with delight, and a farewell lark, in the form of a corn- 



136 



Summer, 



roast, was promptly proposed and almost as promptly carried 
into execution. 

The place selected on which to build the fire was a large 
rock jutting out into a little cove called " Grimes Cove.'' 
Here the party met about three o'clock in the afternoon, each 
member bringing only such dishes as were considered neces- 
sary for his or her own use. It is needless to say that the 
supply was not very plentiful, many limiting themselves to a 
cup and spoon ; still as the supper was to consist merely of 
roasted corn, bread and coffee, these 
answered every purpose. 

Not only was the corn roasted on 
the ends of the long poles, but bread 
was toasted, and in true American fash- 
ion it was eaten piping hot. One of 
the gentlemen, much to the amusement 

of the rest of 
the party, pro- 
duced a piece 
of break fast 
bacon, which 
he fastened on 

to the end of his pole and toasted over the glowing embers, de- 
claring that it was better cooked in that way than in any other. 
Yes, corn-roasts are great fun, and they can be held almost 
any place where a large fire can be safely built. It is best to 
allow the fire to burn down until it is a glowing pile of coals ; 
then sticking the sharp end of a pole into an ear of corn (Fig. 6^), 
and standing as far from the fire as the length of the pole will 
permit, it can be held close to the hot embers until thoroughly 
cooked ; then with butter and salt this roasted corn is excel- 
lent eating. 

Enough corn should be provided to allow several ears to 




Picnics, Burgoo s, and Corn Roasts, 137 

each member of the party, as mishaps are Hable to occur, and 
the tempting ear of corn may be devoured by the flames, in- 
stead of the person for whom it was intended. 

The poles, about six feet in length, should be as light as 
possible, for if too heavy they will tire the hands and arms of 
those holding them. 





White Clover Design. 



CHAPTER XII. 



BOTANY AS APPLIED TO ART. 




HERE is a book of most lovely de- 
signs open to everyone 'Whose eyes 
are open to see. 

Grasses, leaves, blossoms, and 
even buds and seed-vessels supply 
material for beautiful patterns. 

We need not look far for sug- 
gestions. Truly ** that is best 
which lieth nearest ; shape from 
that thy work of art." 

At your very doorway the won- 
ders of botany may be studied. 
Carefully inspect the tree blossoms in the early spring ; the 
maple, willow, birch, any in fact which happen to be conve- 
nient, and you will find suggestions of rare designs. 

Clover, plantain, pepper-grass, dandelions, vines and twigs, 
offer ideas which can be adapted to ornamental art. 

A love of nature will quicken and stimulate the faculties ; 
take the flowers and plants for instructors, and they will teach 
and guide you. 

Though there cannot be found an exact duplicate of any 
blossom or leaf, still these may be conventionalized by arrang- 
ing them in all sorts of symmetrical designs. 

There is no mystery about the matter, for all the designs 



I40 



Summer. 



are conceived upon the most simple of geometric laws. We 
are now following in the steps of the old masters, and an un- 
limited field of new combinations opens before us. 

When making designs for this chapter, the writer did not 
select the objects she thought would be most decorative, but 
anything which chanced to fall in the way ; and what she has 
done you can do, provided, of course, that you have ordinary 
skill with the pencil. 

The Peony Leaf. 

Suppose you do not know how to draw at all ! Even then 
you can design. Take the first thing you see, which in this 





Fig. 68. 



Fig. 69. 



case happens to be a peony leaf (Fig. 68). That is, assuming 
that you are seated by the side of the writer. 

Now watch ! We will pull it apart thus (Fig. 69). Next 
with a pair of scissors, a knife, or fingers snip off the stems, 
and group the leaves in any way we chose. We will try this 
combination (Fig. 70). If you do not understand drawing, 
we must fasten the leaves down upon a piece of paper as they 
are arranged, and trace around them, following their edges 



Botany as Applied to Art. 



141 



with a pencil until the outline is complete (Fig. 70). By sim- 
ply repeating this figure at regular intervals we have a very 
pretty border design and 
one that is truly original, 
for the writer had no more 
idea than you, what was 
to be the result of this ex- 
periment. In order to 
make the pattern exact, 
draw lines as in Fig. 71, 
for a guide ; then draw 
the figure according to the 
foundation lines (Fig. 72). 
When finished, erase the 
lines and the design stands 
a conventionalized peony 
leaf, Fig. 73. By making 
a tracing of the first pat- ^^s- 70. 

tern, you can repeat it any 

number of times. It requires no great or peculiar genius to 
design well, and it is a mistaken, old-fashioned idea to suppose 




Fi^.7/ 



Fi9'72 



Fiff.73 




because you never have done any original work in art that you 
never can. Do not slavishly follow other people, but believe 



142 



Summer, 




of the basket. What are 
they? turnips? Well 
that requires a little skill 
as a draughtsman, but 
we will sketch this one 
and you can copy it (Fig. 
74). Now repeat it (Fig. 
75), or place the bunches 



that there is implanted in you 
the same elements that belong 
to those whose designs you ad- 
mire, then commence and de- 
sign for yourself. That you 
may have a start in your new 
art, we will try something else, 
a vegetable this time, for here 
comes the. green-grocery man 
with a basket full of as quaint 
decorations as are ever painted 
with bamboo-handled 
brush by the Japanese. 

A Bunch of Turnips. 

Take the first bunch 
of vegetables on the top 




Fig. 75. 



in a row and you will 
have another border 
design. After a few 
experiments you will 
see that anything will 
make a decoration 
even the humble 
kitchen vegetables. 



Botany as Applied to Art. 



H3 



Decorative Lines. 

Figs. 'J^ and T^ are simply graceful curves, such as anyone 
can make with a pen or pencil, and may be used in many 




rig. 78. 



Fig. 76. 



Fig. 77. 



ways : cross them and they form Fig. 78, use this as half the 
design, duplicating it for the other half and it gives Fig. 79. 




We now have graceful and beautiful foundation lines on which 
any vine or flower may be placed as ornamentation. We will 




select the rose, allowing the lines to form the stems and using 
as ornament the bud, flower and seed-vessels, remembering 



144 



Summer. 



that one side must be an exact duplicate of the other (see Fig. 
80). 

With these curves invent new designs by placing them to- 
gether in different ways, and choose for decoration anything 
which may strike your fancy. 



Plant Cross-section Designs. 

Have you ever noticed how curiously some leaves are curled 
before opening ? Watch them as they commence to expand 
and grow, and you will be delighted with the great variety and 
unique designs formed by the folding and rolling of these leaf- 
buds. 

Cut a bud square across in the centre with a sharp knife, 
and this will show the nicety of arrangment of the young 




©A© 



Fig. 82 



JUQ.8^ 





ns/.84' 



Fi(f.83 



leaves. The leaf-bud of the sage (Fig. 81), rosemary (Fig. 
82), apricot (Fig. 83), and still another variety of pattern (Fig. 
84), are all singular natural designs. 

The petals of flower-buds are also folded in many ways, 
affording odd designs ; if cut in like manner as the leaves, the 



Botany as Applied to Art. 



145 



cross-sections will be as beautiful. Fig. 85, the lilac bud, and 
the oleander (Fig. 86), give some idea of these odd designs. 






F128S 



fi^.86 



Submit all kinds of buds to the test by cutting them in halves, 
and carefully examining the two parts, observe how nicely and 




Ficf.S? 



orderly the leaves are folded together. In this way you will 
find many natural ornamental patterns. 

Nor must we neglect the seed-vessels ; when these in their 



146 



Summer. 



turn are cut open, they present excellent designs. Fig. 87 is a 
cross-section of the seed-vessel of the harebell. Other seeds 
will furnish queer forms and figures to be obtained in no other 
way. 

Flcwer Sprays. 

The common white clover with its trefoil leaf is very pretty, 
and if a few sprays are placed together in a graceful manner it 

is surprising how readily they 
lend themselves to decoration. 
Experiment with these, gather 
a few blossoms and leaves, 
group them on the centre of a 
piece of paper, and make an 




outline of the group ; then 

trace it off in order to repeat 

the copy at equal intervals 

from the central figure (see il- 

lustration, page 138); this 

•^ makes a very simple and yet 

beautiful design for embroidery, needle-work, or wall-paper 

pattern. In the same manner try grasses and different kinds 

of flowers. 

Conventional designs can also be formed by simply inclosing 
a natural spray in a geometrical figure. Fig. 88 is a circle, but 
a square, triangle, diamond, oval, or any geometrical figure 
may take the place of the circle. 



Changing the Color 

of a natural object gives still another style of ornamental art. 
A spray of flowers and leaves in one color on a background of 
different tint is an example. The spray may be brown on a 



Botany as Applied to Art, 



147 



Fig.89 



yellow background, or a dull blue on white background, either 
way it will be conventionalized. So you see that by merely 
making natural objects all in one tint, you can have a great va- 
riety of designs suitable for china, embroid- 
ery, wall paper, and many other decora- 
tions. It is instructive to examine the pan- 
els, screens, or painted china of the Japanese. 
There is a freedom and crispness about their 
ornamental art, which is very attractive. 

The method the Japanese 
frequently employ is to dimin- 
ish the size of the fruit or flowers while increasing 
the size of the leaves, and vice-versa ; in this way 
they invent designs without losing the character 
of the object they copy, and it is really a very 
simple, yet effective method. 

Suppose you try and see what you can make 
with it. The next time you have an opportunity, 
notice how the Oriental artists carry out this idea 
in their decorations, and it will 
help you in making your designs. 







Fi(;.9/ 




Fig. 90. 




Burs. 



The tenacious little burs found 
clinging to your dress after a 
country walk, when grouped to- 
gether are not without beauty. 
89 is formed of four of these burs placed at right angles 
making an ornament, and when the ornament is repeated at 
regular intervals as in Fig. 90, it forms a border design. 

Seeds with downy or feathery tails are well adapted for dec- 
orations ; three grouped together (Fig. 91), is a design of itself, 



Fig 



148 



Summer. 



which may also be re-duplicated (Fig. 92). The horse-chest- 
nut or buckeye is decorative, and makes an odd design (Fig. 

93). Also the seed-vessel of the 
Velvet-leaf or Abutilon avicennae 
(Figs. 94 and 95). 

The Water-Lily. 

In the illustration of the water- 
lily, the writer has conventionalized 
it by curving the stem around the 
flower and duplicating the same, al- 
ways making the stem meet the next 
lily, then inclosing the flowers in two straight lines, so forming 




Fig. 92. 




Fig. 93. 

a water-lily border. Now, girls, you can realize how very sim- 
ple it is to apply botany to art, and make for 
yourselves new and original designs. 

The knowledge of plants is not only in- 
teresting but useful in connection with art, 
in selecting and determining appropriate de- 
signs for wood-carving, hammered brass, or Fig. 94. 
any kind of ornamentation or decoration. The cross-section of 








Fig. 95. 



some trees will furnish very good designs and the differently 



Botany as Applied to Art. 



149 



formed roots of plants and flowers will aid you in ornamen- 
tal art. 

So we find that Nature offers us exquisite designs, in many 




Fig. 96. 

shapes and forms, and we have only to stretch out our hand 
and take what we want. 

** Beauty doth truly inhabit everywhere," for ** it is mind 
alone that is beautiful, and in perceiving beauty, we only con- 
template the shadow of our own affections." 




CHAPTER XIII. 

DOOR-STEP PARTY AND QUIET GAMES FOR 
HOT WEATHER. 



N the State of Kentucky, in one of whose 
towns the writer's early childhood was 
spent, the summers are long, and frequent- 
ly very hot spells occur when even in 
the early morning hours there is no 
refreshing coolness in the air. As 
the sun rises higher and high- 
er in the heavens, its rays 
^, grow fiercer and fiercer, until 
by afternoon, the heat is 
)-^\3 ^^ intense that few per- 
sons care to venture out 
.<^^K^'^ J of doors, unless com- 
pelled by business or necessity to do so. 
At dusk, however, after the heat of 
the day is spent, and the air, although not cool, is a degree or 
two less hot, the population of the town makes itself visible. 
Ladies and children clad in the thinnest of white and light 
colored muslin gowns, emerge from the houses to sit upon pi- 
azza and door-step, and there welcome the husband, father, and 
brothers of the family upon their return from business ; that 
business which is never neglected no matter what the thermom- 
eter may register. After tea the door-steps are once more 




^n 



152 Summer, 



taken possession of, and to enter the house again until ready- 
to retire for the night, is not to be thought of. Friends and 
neighbors making social calls are received and entertained in- 
formally upon the door-steps, and sometimes when the party 
becomes too large for the steps to accommodate, chairs are 
placed upon the pavement immediately in front of the door, 
and no one feels, while occupying one of these seats, that the 
position is at all public or conspicuous. 

Hatless and bonnetless as all of the ladies and children are, 
the warmth of the evenings making all head coverings and extra 
wraps unnecessary and uncomfortable, the streets present a 
gay and fete-like appearance seldom seen in our eastern towns. 

At least this is as it was when, as one of the band of merry 
children, I played ** Oats-peas-beans " and ** Come Philanders," 
upon the sidewalk, and I do not think these customs have 
changed much since then. 

Later, when I and my young friends had outgrown the 
'* ring-around-arosy " games, we used to gather upon the door- 
step, and there chatter away about the day's doings, or what- 
ever interested us at the time. When tired of talking, we would 
amuse ourselves by playing quiet games or telling stories. 
Sometimes the thoughtful mother of our young hostess would 
add to our enjoyment by serving some light refreshment, such 
as ice-cream or fruit. The greatest treat, and the one most ap- 
preciated, was when we were invited to partake of a great crisp 
frozen water-melon, whose blood-red core, sweet as sugar and 
cold as ice, quickly melted away between the rosy lips of the 
little guests. We were not always thus favored, however ; the 
refreshments were ever a pleasant surprise, but the pleasure of 
our evening was not marred by their absence. 

The remembrance of what very pleasant times we used to 
have at these impromptu little parties, urges me to devote some 
pages of this book to the description of a door-step party, that 



Quiet Games for Hot Weather, 153 

by acting upon the suggestion, others may enjoy them even as 
did that group of little Kentucky girls. 

Now is just* the time for a door-step party ; now when the 
beauty of the evening lures us from the lighted parlor to the 
shadowy piazza whose coolness is so attractive after the long, 
hot summer day. Here soft breezes fan our cheeks, and here, 
perhaps, the moonlight filtering through vine and trellis, is car- 
peting the floor with lacy shadows, and with its soft mysterious 
light is casting a glamour over all familiar things. 

It is a modest little fete, this door-step party, a simple way 
of entertaining one's friends of a summer evening when the heat 
will not permit of the exertion of active games. The delight- 
ful out-door surroundings give it a novel charm and make it 
entirely different from the frolics usually indulged in during 
the winter season. 

Because the entertainment is not noisy it need not be the less 
enjoyable, and a party of bright, merry girls will derive plenty 
of amusement and fun from the quiet games of a door-step 
party. The following will give an idea of what games are suit- 
able for an occasion of this kind. 

Five Minutes' Conversation 

is not exactly a game, although there are rules which must be 
obeyed in order to make it interesting. 

A programme with small pencil attached, like the one shown 
in Fig. 97, should be given to each guest upon her arrival. 
The engagements for five minutes' conversation are made by 
putting your name down on your friend's card opposite the 
time chosen for your conversation with her, 

Five minutes only are allowed for one conversation. 

Two or more consecutive engagements with one person are 
not allowable. When engagements are made and programmes 



154 



Summer, 



filled, the hostess, or anyone willing to be time-keeper, must 
ring a bell giving notice that the conversation is to begin. 

At the end of five minutes the bell is to be rung again, when 
all talking must instantly cease, the exchange of positions be 
quickly made,^nd a new conversation be commenced. 




The time-keeper should be strictly attentive to her duties, for 
the bell must be rung regularly at the end of every five minutes. 

The hour allotted to this new mode of conversation will pass 
very quickly, and cannot become in the least tiresome, as the 
time spent in talking to any one person is so very short. 



Quiet Games for Hot Weather, 155 

Blind-man's Singing-school. 

One of the party must be blindfolded to take the part of 
teacher. The class composed of the rest of the players should 
sit in a line facing her. 

The teacher informs her scholars that they will begin the 
lesson by singing the scales. Then the head girl, or the one at 
the top of the Hne, sings ah ! and the next, ah ! a little higher or 
lower, and so it goes down the line ; each one in turn uttering 
ah ! in any key or note she please ; in a high shrill voice, or the 
deepest tone a girlish throat is capable of. The teacher should 
Ijsien attentively, and when she thinks she recognizes a voice 
she must command the class to stop while she makes some criti- 
cism on the manner in which the note is sung, at the same time 
calling the singer by name. 

When one of the players is named correctly, she must be 
blindfolded and become teacher, while the former teacher takes 
her place in the class. 

A general exchange of seats is made before the singing les- 
son recommences, that the voices may not be guessed by the 
direction from which they come. To give variety to this game 
the second teacher may direct the class to sing a song, selecting 
some well-known nursery rhyme ; then, beginning at the top 
of the line as before, each player must sing the word which 
comes to her to supply. It is the privilege of each teacher to 
direct the class to sing whatever she may choose, either song 
or exercise. 

A Game of Noted Men, 

is played in this way : The hostess begins the game by saying, 
I know a celebrated poet ; the first part of his name is very 
black, and the last is an elevation. Whoever gives the right 
name, which is Coleridge (coal, ridge), in her turn describes the 



156 Summer. 



name of some noted person. She may choose Shakespeare 
and say, I give the name of a noted author and poet ; the first 
part is something people are apt to do when they are cold, the 
last is a weapon of warfare. 

There are quite a number of names which will do nicely for 
this game ; a few of them are — 

Wordsworth — words, worth. Shelley — shell, lea. 

Cornwall — corn, wall. Washington — washing, ton. 

Howitt — how, it. Fillmore — fill, more. 

Milman — mill, man. Longfellow — long, fellow. 

When giving a name to be guessed, the profession of the 
man, whether poet, author, statesman, or soldier, must be given, 
but nothing else should be told about him. 

What will You Take to the Picnic? 

can be played very nicely while the party are enjoying some 
light refreshments. 

The hostess alone should be in the secret, and these direc- 
tions are addressed only to her. 

Commence the game by announcing that you propose to 
give a picnic, that it depends upon what your guests will bring 
for lunch whether they will be allowed to attend, and that each 
one must furnish two articles of food. Then ask the person 
nearest you. What will you take to the picnic ? If the name of 
neither of the articles she mentions commences with the initial 
letter of her Christian name or surname tell her she cannot go, 
and put the question to the next person, .asking each in turn, 
What will you take to the picnic ? 

For example, we will suppose that the name of one of the 
party is Susan Davis, and she says she will take crackers and 
lemons, she cannot go, as neither of her names commence with 



Quiet Games for Hot JVeather. 157 

C or L ; but if she proproses to take salmon and doughnuts, 
she will be doubly welcome, since S and D are both her in- 
itials. Should she say sugar and cream, she could go for one of 
her names commences with S. 

Continue to put the question to each player until all, or 
nearly all, have discovered why their proposed contribution to 
the lunch secures them a welcome, or debars them from attend- 
ing the picnic. 

Assumed Characters. 

In this game some well-known novelist is selected — Dickens, 
for instance — and each player chooses one of his characters to 
personate, telling no one her choice. Then one of the players 
relates the life as though it were her own, and portrays with 
voice and gesture the character she has assumed. Of course no 
names must be mentioned. 

The person who first guesses what character is being per- 
sonated has the privilege of deciding who shall be the next to 
tell her story. 

The game of Assumed Characters will prove to be very en- 
tertaining if each player does her part and makes her narrative 
as amusing and interesting as possible. 

Shadow Verbs. 

A white sheet is fastened tightly across a French window, or 
doorway opening upon the piazza, and a large lamp set behind it. 

The company separates into two parties ; one enters the 
house, while the other remains seated upon the piazza facing 
the suspended sheet. 

The outside party chooses a verb which the others are to 
guess and perform. When their decision is made they call the 
leader of the inside party and say, " The verb we have chosen 



158 



Summer. 



rhymes with rake," or whatever it may rhyme with. The 
leader then joins her followers and consults with them what the 
first guess shall be. It is best to take the verbs which rhyme 
with the noun given in alphabetical order. Bake would come 
first for rake, and if it is decided that they shall act this, several 
of the party step before the lamp, which casts their shadows on 
the sheet and, without speaking, go through the motions of 
making and baking bread. If the guess is right (that is if to 
bake was the verb chosen) the spectators clap their hands ; if 
wrong, they cry, No, no. 

When they hear the no, no, the actors retire and arrange 
what to do next. Make, quake, take, wake are all acted in 
turn, until the clap of approval announces that they have been 
successful in guessing the verb. Then the actors take the seats 
vacated by the spectators, who in their turn enter the house 
to become shadows and act the verbs chosen by the other party, 
and the game goes on as before. A little ingenuity on the part 
of the players in producing funny and absurd shadows makes 
the whole thing very laughable and causes great amusement. 

There are an unlimited number of games that may be 
played, but the object of this chapter is not so much to de- 
scribe the games as it is to illustrate those that are appropriate 
to the quiet and delightful entertainment known as a door- 
step party. 




( -J 




CHAPTER XIV. 

HOW TO MAKE A HAMMOCK. 

^ NDERNEATH the spreading branches of the 
cool, shady tree swings our hammock. 

Through the intertwining boughs the gold- 
en sunhght is sifted in bright little dashes on 
the leafy foliage below. Lying ensconced 
in its lacy meshes idly listening to the hum 
of the busy bumble-bees at work among the 
red clover, or gazing up through the leafy 
canopy to the blue heavens where now and 
then fleecy white clouds float softly past, or watching a flight 
of birds skim o'er the distant horizon, who would not be lulled 
by the harmony of the summer day ! A delightful languor 
steals over us and we unconsciously drift into the land of 
dreams where perfect rest is found. We awaken refreshed, to 
.again gently swing back and forth and vaguely wonder who 
•could have first thought of this most delightful invention. It is 
said that we owe the luxury to the Athenian, General Alcibi- 
ades, who, in 415 B.C. first made the swinging bed. The word 
hammock is taken from hamacas or hamac, an Indian word 
which Columbus relates as being used by the Indians to sig- 
nify a hanging bed composed of netting. What these unciv- 
ilized red men made with their rude implements, we ought to 
be able with our modern facilities to accomplish very easily 
.and quickly. 



How to Make a Hammock. 



i6i 



It is not difficult to make a hammock ; anyone can soon knit 
one that is strong and comfortable, and it should not cost more 





- -M irtclzes--- 



B\nc\i 



es 



Fi^.98 



fi^.99 



Mesh-sticks. 



than fifty cents. The materials required will be one hammock- 
needle about nine inches long (this can be whittled out of hick- 
n. ory or ash, or purchased for ten cents) ; two 

iron rings two and one-half inches in diam- 
eter, which will cost about five cents each ; 
two mesh-sticks or fids, one twenty inches 
long and eight inches wide bevelled on both 






Pig. 100 Hammock Needle. 



Fig. 101.— The Loop. Fig. 102.— Small Fid and Loop. 



edges (Fig. 98) : the other nine inches long and two and one- 
half inches wide, bevelled on the long edge (Fig. 99) ; these 
you can easily make yourself from any kind of wood. 



1 62 



Summer, 



One pound of Macreme cord number twenty-four, or ham- 
mock twine of the same number, which can be had for less than 

thirty cents ; color- 
ed cord comes five 
cents extra. 

Wind the cord in 
balls, as it is then 
more convenient to 
handle, and begin 
making your ham- 
mock. First, thread 
the needle by taking 
it in the left hand 
and using the thumb 
to hold the end of 
the cord in place, 
while looping it 
over the tongue 
(Fig. lOO) ; pass the 
cord down under 
the needle to the 
opposite side and 
catch it over the 
tongue ; repeat this 
until the needle is 
full. 

Next, make a 
loop of a piece of 
cord two yards long 
and fasten this to 
any suitable place 




(Fig. loi) — a door-knob will do very well; then tie the -cord 
on your needle three inches from the end to this loop. Place 



How to Make a Hammock, 



163 



the small fid under the cord, the bevelled edge close to the 
loop (Fig. 102). With your thumb on the cord to hold it in 
place while you pass the needle around the 
fid, and with its point toward you, pass it 
through the loop from the top, bringing it 
over the fid, so forming the first half of the 
knot (Fig. 103). Pull this taut, holding it 
in place with your thumb while throwing 
the cord over your hand, which forms the 
loop as in (Fig. 104). Then pass the needle 
from under through the loops, drawing it 
tight to fasten the knot. Hold it in place 
with your thumb, and repeat the op- 
eration for the next knot. Fig. 105 
shows a number of these knots fin- 
ished. A is a loosened knot, making 
plain its construction. B, in Figs. 103, 
104, and 105, is 
the cord running 
to the needle , 
and D is the fid. 
When thirty meshes are finished shove 
them off the fid (Fig. 106), as this number 
will make the hammock sufficient- 
ly wide. 

Commence the next row by 
again placing the fid under the 
cord, and take up the first mesh, 
drawing it close to the fid ; hold 
it in place with your thumb while 
throwing the cord over your hand ; pass the needle on the left 
hand-side of the mesh from under through the loop thrown 
over your hand (Fig. 107) ; pull this tight and you will have 




Fig. 106.— Meshes. 




Fig. 107. 



-Commencing the Second 
Row. 



164 



Summer. 



Fig. 108.— Fisherman's Knot. 



tied the common knitting-knot ; proceed in like manner with 
all the loops in rotation until the row is finished. When it is 
necessary to thread or fill your needle, 
tie the ends of the cord with the fisher- 
man's knot shown in Fig. 108, which 
cannot slip when properly tightened. 
Wrap each end of the cord from the knot 
securely to the main cord with strong 
thread to give a neat appearance 
to the hammock. 

Continue knitting until thirty 
rows are finished. 

Then use the large fid, knit- 
ting one row on the short side 
first, next one on the long side. 
This accomplished, knit the 
meshes to the ring by passing 
the needle through it from the 
top, knitting them to the ring in 
rotation as if they were on the 
mesh-stick or fid (Fig. 109). When 
finished tie the string securely to 
the ring, and one end of your 
hammock is finished. 

Cut the loop on which the 
first row was knitted, and 
draw it through the knots. 
Tie the end of the cord on 
your needle to the same 
piece used in fastening 
the end of the first needleful to the loop (Fig. IIO), and knit 
the long meshes to the other ring as described. This com- 
pleted, the hammock is finished. 




On the Ring. 



fy.l 



How to Make a Hammock. 165 

To swing it, secure two pieces of strong rope and fasten 
them firmly to the iron rings, the length of the rope depend- 
ing upon the space between the two points from which you wish 
it to hang. These should be if possible twelve or fifteen feet 
apart and at least ten feet high, to give your hammock sufficient 
room to swing freely. 

This suspended bed will furnish a welcome retreat when the 
weather is too warm to admit of games, walks, or other amuse- 
ments. Then, with some favorite book, or if even reading is 
too much of an exertion, simply to lie indolently in the ham- 
mock is a comfort, so restful and quiet that the time quickly 
passes, and we are made better and brighter for our short, pas- 
sive repose. 

Very decorative nets, and useful ones of many kinds, includ- 
ing fish-nets and minnow-seines, are made with the same stitch 
as that used in the hammock. The size of the mesh is regu- 
lated by the circumference of the fid, and the twine used is fine 
or coarse, according to the style of net desired. 

Barrel Hammock. 

When in the Catskills last summer the writer saw for the 
first time a hammock made of a barrel. It was painted red 
and looked very cheery and inviting hanging under the green 
boughs ; the two colors, being complementary, harmonized 
beautifully. 

This hammock was made of a piece of strong rope twenty 
feet long threaded in and out of barrel staves, and was sub- 
stantial and durable. The construction of such a hammock is 
very simple. Remove the top and bottom hoops and nails 
from a firm,, clean barrel. Then before taking off the remain- 
ing hoops draw a pencil-line around both ends of the barrel, 
being careful to have the marking three inches from and parallel 



1 66 



Summer. 







to the edges ; this is for a guide 
when making the two holes in 
each end of all the staves. Bore 
the holes with a five- 
eighth of an inch au- 
gur or a red-hot poker, 
using the pencil-line as 
a centre ; leave an equal 
margin on both sides of 
the staves, and at the 
same time enough space 
in the centre to preclude 
all danger of breakage. 

Fasten the staves to- 
gether by threading the rope through the hole from 







"^^f^^^^ 




How to Make a Hammock. 



167 



side of the first stave, then across the inside of the stave down 
through the other hole (see illustration). Continue threading 
until one side is finished, then in like manner thread the other 
side. Knock off the remaining hoops and the staves will ap- 
pear as shown at bottom of illustration. Tie the two ends of 
the rope together and fasten loops of rope on both ends ; these 
should be of sufficient length to conveniently swing the ham- 
mock. When threading the staves let the rope be loose 
enough to leave a space of an inch or so between each stave 
when the barrel is spread out in the form of a hammock. 

In this way you can have a serviceable hammock, the cost 
of which will be about twenty-five cents and a little labor. 





Grandmamma's Dolls. 



CHAPTER XV. 

(FOR LITTLE GIRLS,) 
CORN-HUSK AND FLOWER DOLLS. 



O such beautiful dolls as delight 
the hearts of the children of 
to-day, ever peeped forth from 
the Christmas-stockings of our 
grandmothers or great-grand- 
mothers when they were little 
girls. In those times there 
were not, as there are now, 
thousands of people doing 
nothing but making toys for 
the entertainment and pleas- 
ure of the little ones, and the 
motherly little hearts were 
fain to content themselves 
with lavishing unlimited af- 
fection and care upon a rag, wooden, or corn-husk baby, made 
and dressed at home. Since then almost every child tired of, 
and surfeited with handsome and expensive toys, has been 
glad at times to get grandma to make for her la real old-fash- 
ioned dolHe which might be hugged in rapturous moments of 
affection without fear of dislocating some of its numerous 
joints, or putting out of order its speaking or crying apparatus ; 




lyo 



Summer, 



and might in times of forgetfulness be dropped on the floor 
and suffer no injury thereby. Such a doll is just the kind to 
adopt for the summer. The fine French doll with 
its delicate wax or china face, silky hair, and 
dainty toilets, is more suited to the elegances of 
the parlor than to the wear and tear of out-door 
life, and everyone knows that summer holidays 
spent in the country are far too precious to be 
wasted taking care of anyone's complexion, let 
alone a doll's ; so it is best to leave the city doll 
in her city home, safe out of harm's way, and 
manufacture, from materials to be found in the 
country, one more suited to 
country surroundings. 

Corn -husks, corn-cobs, 
and ordinary garden flowers 
can be made into dolls which, 
although not quite so pretty 
nor so shapely as those pro- 
duced from more costly ma- 
terial, yet possess a charm 
of their own which the children are not slow 
to perceive. 

Little Indian girls, to whom store babies 
are unknown, make the most complete and 
durable corn-husk dolls, and the following 
directions tell just how to construct them : 

Provide yourself with the husks of sev- 
eral large ears of corn, and from among 
them select the soft white ones which grow 
closest to the ear. Place the stiff ends of 
two husks together, fold a long, soft husk in a lengthwise strip, 
and wind it around the ends so placed as in Fig. iii. Select 




/}■(;. /If 

Head Commenced 




Fig./ 12 

The Corn Husk, 



Corn-husk and Flower Dolls. 



171 



the softest and widest husk you can find, fold it across the cen- 
tre and place a piece of strong thread through it (as in Fig. 
112), draw it in, tie it se- 
curely (Fig. 113), place it 
entirely over the husks 
you have wound, then 
bring it down smoothly 
and tie with thread under- 
neath (Fig. 1 14) ; this will 
head and neck. 





form the 
To make the arms, 
divide the 
husks be- 
low the 
neck in 
two equal 
parts, fold 
toge t h e r 
two or 
more 
husks and 
ins e r t 
them in 
the divis- 
ion (Fig. 115). Hold the arms in 
place with one hand, while with the 
other you fold alternately over each 
shoulder several layers of husks, al- 
lowing them to extend down the 
front and back. When the little 
form seems plump enough, use 
your best husks for the topmost 
layers and wrap the waist with strong thread, tying it securely 
(Fig. 116). Next divide the husks below the waist and make 



Fi(j.ll6 

Head and Arms. 



Corn-husk Tied. 



Head Finished. 



172 



Summer. 



the legs by neatly wrapping each portion with thread, trim- 
ming them off evenly at the feet. Finally, twist the arms 
once or twice, tie, and trim them off at the hands. The features 
can be drawn on the face with pen and ink, or may be formed 
of small thorns from the rose-bush. Fig. 117 shows the doll 
complete, minus its costume, which may be of almost any style 
or material, from the pretty robe of a civilized lady to the more 




Mff.//6 

Head, Arms, and Body. 



Finished Doll. 



scanty garments of its originator, the Indian. The doll is rep- 
resented in full Indian costume in Fig. 118. The war-paint and 
tomahawk are not necessary here, as he is smoking a pipe of 
peace. His apparel is composed of one garment, which is cut 
from a broad, soft corn-husk, after the pattern given in Fig. 119. 
A narrow strip of husk tied about his waist forms the belt. 
His head-dress is made of small chicken feathers stuck at 



Corn-husk and Flower Dolls. 



173 



regular intervals into a strip of husk. The corn-silk hair is 
placed on his head, and on top of that one end of the head- 
dress is fastened with a thorn. 

A small twig is used for the stem of his pipe, and two rose- 
bush thorns form the bowl. Instead of using a thorn for his 





FigJ/a 
A Real Indian Doll. 



Fip.lJQ 
The Indian's Dress. 



mouth, a round hole is punched in the face and the stem of 
the pipe inserted. 

Mary Jane. 

Here is another way of making a doll which is very easy and 

simple. First find a young ear of corn, one on which the silk 

has not turned brown ; then with a crab-apple for a head and 

a leaf of the corn to dress her with, you have your material. 

12 



174 



Summer. 



Cut off squarely that end of the ear where the husks are puck- 
ered, to join the stalk, and carefully take the silk from the other 
end, disturbing as little as possible the closely wrapped husks. 

Roll part of the leaf (as indicated in Fig. 120) for the arms, 
then with a small twig fasten the head to the arms ; stick the 




Material and Parts of Doll. 



Mary Jane. 



other end of the twig into the small end of the corn-cob, and 
the doll is ready for dressing. Her bonnet is made of the leaf 
just where it joins the stalk (Fig. 121), and is fastened to her 
head with a thorn. Before adjusting the bonnet, however, the 
silk must be placed on the head to form the hair. 



Corn-husk and Flower Dolls. 



175 



Make the scarf of part of the leaf (Fig. 122), fold it around 
the shoulders, and secure it with thorns. 

The features also are made of thorns. 

When her toilet is complete, you can but acknowledge that 
this rosy-cheeked little maid, peeping from beneath her poke- 
bonnet, is very cunning indeed. 



Flower Dolls. 

The flower lady with the baby is made of a yellow gourd 
flower ; the small gourd attached, which has just begun to 





form, serves for her head ; a green gourd leaf is used for her 
shawl, and her bonnet is made of a smaller leaf folded to fit her 
head. The baby is a white gourd bud, with a cap made of a 



176 Summer. 



leaf. A small twig stuck through part of the lady's shawl, 
through the baby, and into the lady doll, holds the child in 
place and makes it appear as though clasped in the mother's 
arms. 

The features of both dolls are scratched on with a pin and 
then inked. To make the lady stand erect, a small twig is stuck 
into the heart of the flower, and the other end into the top of a 
small paste-board-box lid. 

The other flower doll is made of the common garden flowers. 
The underskirt is a petunia ; a Canterbury-bell forms the over- 
skirt and waist ; small twigs, or broom-straws stuck through 
buds of the phlox, are the arms, and the head is a daisy with 
the petals cut off" to look like a bonnet. The features are made 
with pen and ink on the yellow centre. A reversed daisy forms 
the parasol. 

If the flowers named are not at hand, those of a similar 
shape will answer just as well. 

Gaily dressed little ladies can be made of the brilliantly 
tinted hollyhocks, and many other flowers can also be trans- 
formed into these pretty though perishable dolls. 




CHAPTER XVI. 



HOW TO MAKE A FAN. 



" That graceful toy whose 
moving play 
With gentle gales relieves 
the sultry day." 

FAN is only a pretty trifle, 
yet it has been made rather 
an important one. To man- 
age a fan gracefully was some 
time ago considered very es- 
sential by fair dames of soci- 
ety, and in the dainty hand 
of many a famous beauty it 
has played a conspicuous 
part. Queen Elizabeth regarded it with so much favor that 
she was called the " Patron of Fans," and she made a rule that 
no present save a fan should be accepted by English queens 
from their subjects. 

Although held in such high esteem, it is only since the in- 
flux of any and every thing Japanese that we have had fans in 
such profusion, and have discovered how effective they are 
when used for decorative purposes. 

A brilliantly tinted fan is of equal value in giving just the 
right touch of color to a costume or the decorations of a room, 
and this chapter will show how the girls can make the fans 




178 



Summer. 



themselves, and have for use or for the adornment of their 
rooms those of various shapes, sizes, and colors. The first fan 

represented here is 
made in the form 
of a butterfly. The 
principal articles 
necessary for its 
manufacture are a 
strip of smooth, 
brown wrapping- 
paper, stiff enough 
to keep its folds, 
and two sticks for 
handles. The rib- 
bon which, in the 
illustration, ties the 
handles together 
looks pretty, but is 
not indispensable ; 
an elastic band, or 
one made of nar- 
row ribbon, slipped 
over the sticks will 
do as well. 

The paper must 
be twenty-eight 
inches long and five 
and one-half inches 
wide. In order to 
fold it evenly it 
should be ruled across with lines one-half inch apart, as shown 
in diagram of butterfly (page 179). When the paper is pre- 
pared the pattern can be copied from the diagram, which is 




Butterfly Fan. 



How to Make a Fan, 



179 



half of the butterfly. By counting the lines and using them as 
guides for obtaining the proportions, an exact reproduction of 




Diagram of one-half of Butterfi7 Fan. 



this pattern can be made, 
must be plaited, one fold 
another, until twenty-seven plaits 
have been laid. Smoothing out the 
paper again, the butterfly should be 
painted with water-colors in flat, 
even tints. 

The lower part of diagram is the 
body of the insect and is of a light- 
brown color, also the space just be- 
low the head, which is surrounded 
by a strip of black. 

The head and eyes are black, 
the eyes having a half-circle of 
white to separate them from the 
head. The main part of the wings 



The outlines being drawn, the paper 
on top of 



\ 

/ 



B 



Fig. 123. 




Fig. 125. 
Folded Fans. 



I^ 



Jig 724 
Handle. 



i8o 



Summer, 



are a brownish purple, next to which comes a border of very 
dark purple with light-blue spots. The outer border is light 
yellow. When the paint is quite dry the extra paper at the 
top of the butterfly is to be cut away. Again the fan must be 
plaited in the 
folds already 
formed, and 
the plaits 
fastened to- 
gether at one 
end with a 
strong needle 
and thread, as 
shown in dia- 
gram (Fig. 123). 
Fig. 124 shows 
the shape of the 
handles, two of 
which are re- 
quired ; they 
should be about 
nine inches 
long, one-third 
of an inch wide, 
and one-eiehth 




The Mikado Fan, 



of an inch thick. A handle must 
be glued to the last fold at each end of the fan (see 
Fig. 125). The fan should be kept closed until the 
glue is dry, when it may be opened and used at pleasure. 

Our next sketch is that of the Mikado fan, and represents a 
Japanese lady who, with her fan held aloft, is making a bow- 
ing salutation. 

This fan is made of the same paper as that used for the but- 
terfly, and is cut the same width ; there are, however, twenty- 



How to Make a Fan. 



i8i 



nine plaits instead of twenty-seven, as in the other. The dia- 
gram gives the pattern in two parts, and the colors it is to be 
painted ; the face and hands should be of a flesh-tint and the 
features done with black in outline. The directions for put- 
ting together the butterfly apply as well to the Mikado fan. 




Mikado 



The third illustration shows a fan made in the shape of a 
daisy. Diagram on page 183 shows a section of the pattern. 

White paper should be used, and it must be laid in thirty- 
four plaits, which will give the flower fifteen whole and two 
half petals, the half petals being at each end. 

The tinted part of pattern indicates where it is painted yel- 
low to form the centre of the daisy. 



1 82 



Summer, 



For a plain round fan no pattern is needed. It is made 
simply of a strip of paper, of the width used for the other fans, 
and has about thirty plaits. When fans of this kind are made 

of colored paper in 
solid tints they are 
very pretty. Pieces 
of bright, figured 
wall-paper left from 
papering a room 
can be utilized, and 
quite effective fans 
be made of them to 
use for decoration. 

Another style of 
fan is represented 
in our last illustra- 
tion. It is made of 
twenty slats of card- 
board cut after pat- 
tern Fig. 126. These 
slats are joined to- 
gether at the top and centre with narrow ribbon 
passed through the slits cut for it, as shown in 
Fig. 127. Over the ribbon where it passes through 
the top slits, on the wrong side of the fan, square 
pieces of paper are pasted, which hold the ribbon 
down securely at these points. The paper is pasted 
only at each end of the ribbon in the middle row. It is 
best to leave one end of this ribbon loose until the fan is 
joined at the bottom ; then opening the fan, and drawing the 
ribbon until it fits the fan smoothly, it can be cut the right 
length and the loose end fastened down. A ribbon is also 
used to hold the slats together at the bottom ; a bow at each 




Daisy Fan. 



How to Make a Fan. 



183 




the 



side keeps them in place (see Fig. 128). When a large fan for 

decoration is desired, the slats should be about eighteen inches 

long, two and a half 

inches wide at the 

top, and one and a 

half inch wide at the 

bottom. The fan 

may be larger still, 

in which case it can 

be used as a screen to 

set before an empty 

fire-place. For this 

purpose the slats 

have to be two feet 

long, four inches wide at 

wide at the bottom. 

The proportions of the slats for a 

and a half inches long, 
one and a half inch wide 
at the top, and one inch 
wide at the bottom. 
The large fans should 
be made of heavier card- 
board or pasteboard 
than that used for small- 
er ones. 

Colored cardboard, 
which can be bought at 
almost any stationer's, is 
the best to use, but the 
slats of ordinary white 

cardboard may be covered with colored paper if more con- 
venient. 



Pattern for Daisy Fan. 

top, and two and a half inches 



srnall hand-fan are eight 



o 



Sii.1ZS. 




Construction of Cardboard Fan. 



^J2ff. 



1 84 



Summer. 



These fans may be varied to suit the taste of the girls who 
make them. Instead of a solid color, one can be made with 

alternate slats of red 
and white, blue and 
yellow, or any other 
colors that harmo- 
nize. Another may 
show all the tints of 
the rainbow, and for 
use on the Fourth of 
July one might dis- 
play the red, white, 
and blue. 

Some will look 
especially handsome 
if prettily . painted. 
A dark-red fan with 
a branch of dogwood- 
blossoms painted 
across it makes a 
charming wall dec- 
oration, as does also one of light blue with pine-branch and 
cone painted in brown or black. 

A gilt fan lightens up a dusky corner beautifully ; it can 
be curved around to fit the place, and catching and reflecting 
the light at all angles, as it does, it is quite effective. 




Cardboard Fan. 



CHAPTER XVII. 




ALL-HALLOW-EVE. 

A D I A N T and beautiful October, whose 
changing color heralds the approach of win- 
ter, gives us our first autumn holiday, if 
Halloween can now be called a holiday. 

Before the Christian era, in the days of 
the ancient Celts and their priests, the 
Druids, the eve of the first of November 
was the time for one of the three principal festivals of the year. 
The first of May was celebrated for the sowing ; the solstice on 
the twenty-first of June for the ripening, and the eve of the first 
of November for the harvesting. At each of these festivals 
great fires were built on the hill-tops in honor of the sun, which 
the people worshipped. When Christianity took the place of 
the heathen religion, the Church, instead of forbidding the cele- 
bration of these days, gave them different meanings, and in 
this way the ancient harvest-festival of the Celts became All- 
Hallow-Eve, or the eve of All-Saints-Day, the first day of No- 
vember having been dedicated to all of the saints. 

For a long while most of the old customs of these holidays 
were retained ; then, although new ceremonies were gradually 
introduced, Hallow-Eve remained the night of the year for wild, 
mysterious, and superstitious rites. Fairies and all supernat- 
ural beings were believed to be abroad at this time, and to 
exercise more than their usual power over earthly mortals. Be- 
cause the fairy folk were believed to be so near us on Hallow- 




Kaling. 



A II- Hallow- Eve, 189 

een, it was considered the best evening of the season for the 
practice of magic, and the customs observed on this night be- 
came mostly those of divination, by the aid of which it was 
thought the future might be read. 

Before proceeding further with this subject we desire our 
readers to appreciate and fully understand that we are far from 
wishing to inculcate any superstitious belief in the power of 
charms to forecast future events; that we regard all fortune- 
telling as nonsense, pure and simple, and only insert it here, 
as we would any other game, for the sake of the amusement it 
affords. Although, to make our descriptions more intelligible, 
we announce the results of charms as facts, we would not have 
it understood that they are to be taken as such. 

Nowadays, so practical has the world become, no fairy, 
witch, or geni could we conjure up, were we to practice all the 
charms and spells ever known to soothsayer or seer. Our busy, 
common-sense age allows no fairies to interfere with its concerns, 
and these creatures, who existed only in the belief of the people, 
must needs vanish, to return no more, when that belief is gone. 

A few fortune-telling games are all that now remain of the 
weird ceremonies that once constituted the rites of Halloween, 
and the spirit of this old heathen holiday is once more changed, 
for it is now considered only an occasion for fun and frolic. 

It was the custom for quite a number of years of some 
friends of the writer to give a Halloween party on each recur- 
ring Halloween ; and merrier, jollier parties than those were, 
it would not be easy to devise. The home which opened wide 
its hospitable doors to the favored few on this night is a country- 
house, large and spacious ; there is a basement under the whole 
lower floor, which is divided into kitchen, laundry, and various 
store-rooms intersected with passages, and this basement, de- 
serted by the servants, was given up to the use of the Hallow- 
een revellers. The rooms and passage-ways were decorated 



igo Autumn. 



with and lighted by Chinese lanterns, which produced a sub- 
dued glow in their immediate vicinity, but left mysterious 
shadows in nooks and corners. 

Putting aside conventionality and dignity as we laid aside 
our wraps, ready for any fun or mischief that might be on 
hand, we proceeded down-stairs and into the kitchen, where 
a large pot of candy was found bubbling over the fire. This 
candy, poured into plates half-full of nuts, was eaten at inter- 
vals during the evening, and served to keep up the spirits of 
those who were inclined to be cast down by the less pleasing 
of Fortune's decrees. With plenty of room and no fear of 
breaking or destroying anything, which is apt to put a check 
upon frolics in the parlor, the company could give full vent to 
their high spirits. Now in this room, now in that, again flitting 
through the dim passages and around dark corners, each person 
seemed to be everywhere at once, and although the party was 
limited to about twenty-five, there appeared to be at least twice 
that number present. Bursts of merry laughter and little 
screams of pretended terror would announce, now and then, that 
some charm was being gone through with and someone's fort- 
une being told. All sorts of games were played, and the va- 
riety of our entertainment made the evening pass very quickly. 
All too soon the hands of the kitchen clock warned the guests 
that to reach home at a seasonable hour they must put an end 
to their Halloween festivities. A number of the following 
methods of telling fortunes were tried at these parties, one 
might say with success, for we certainly succeeded in accom- 
plishing our main object, which was, to have a good time. By 

Melted Lead 

we used to ascertain what the occupation of one's future hus- 
band would be. The fortune is told in this way : Each girl, in 



All-Hallow-Eve. 



191 



» 



\ 



turn, holds a door-key in one 
hand, while with the other 
hand she pours the melted 
lead, from an iron spoon or 
ladle, through the handle 
of the key into a pan of 
cold water. 

In the fanciful 
shapes the lead W M all sorts 
assumes can be ^W m of things, 
traced resem- ^^^ ^ | j' Sometim e s 
blances to fW ,!l||J' it is a sword 

or gun, which 
indicates that a 
soldier will win the 
fair prize ; again, 
traces of a ship 
may be seen : then 
the A favored one is to be a sail- 
or; a \ plough suggests a farmer; 
a book, a professor, or perhaps a min- 
ister; and 
3^^ when the 
lead forms 
only drops. 



'■y/' 



(tl 



it seems to mean 
that the gentle in- 
quirer will not 



192 Autumn, 





marry, or if she does, her husband will be of no profes- 
sion. 

Nutshell Boats 

foretell in a general way what their owner's future life will be. 
They should be prepared beforehand in this manner : Split an 
English walnut directly in half, remove the 
kernel, and clear away any of the partitions 
which may remain in the shell ; then place a 
short piece of heavy cotton string in the shell 
J^-iS-l^S and pour around it melted beeswax. Mould 

the wax into a cone shape around the string, 
as shown in Fig. 129, allowing the end to 
come out at the top. Fig. 130 shows what 
it is like when finished. 

The tapers first being lighted, several of 
Fi£.1SQ these little craft are launched at the same 

time, by their respective owners, upon the sea of life, or, in 
other words, in a tub of water. 

When a light burns steadily until the wax is all melted, 
and the frail bark safely rides the waves (which are occa- 
sioned by stirring the water with a stick, or shaking the tub 
from side to side), a happy life is predicted, and a long one. 

When two boats come in contact, it means that their owners 
will meet and have mutual interests some time during their lives. 
If one boat crosses another's path, it denotes that their 
owners will do the same. 

If two boats come together and continue to sail about side 
by side, their owners will in some way pass much of their lives 
together. 

When a boat clings closely to the sides of the tub, refusing 
to sail out into the centre, it shows that its owner will be a stay- 
at-home. 



A 11- Hallow-Eve. 193 

Touching often at the side of the tub is indicative of short 
voyages ; and extended travel is predicted when a boat seldom 
touches the tub. 

It depends a good deal upon the fancy and imagination of 
those testing their fate how the antics of the little fleet are in- 
terpreted, and the meanings given to the movements of the 
boats create no end of fun. 

"Three Luggies." * 

" In order, on the clean hearth-stane, 

The luggies three are ranged, 

And ev'ry time great care is ta'en 

To see them duly changed." 

The three bowls, or dishes, one containing clear water, one 
milky, and the other nothing at all, are placed in a row on the 
hearth-stone or table, and the girl wishing to try her fortune is 
blindfolded and led up to where the dishes stand. She is then 
told to put her left hand into one of the bowls. If she dips her 
fingers in the clear water, she will marry a bachelor ; if in the 
milky water, a widower ; and if into the empty bowl, it is a sure 
sign that she will live in single blessedness all her days. 

This ceremony must be gone through with three times, and 
the hand be dipped twice in the same bowl, in order to make 
the prediction of any value. 

Roasting Nuts 

is the charm by which the friendship of anyone may be tested. 
The applicant for knowledge on this point names two nuts, one 
for her friend and the other for herself, and then places them 
side by side upon the grate, or a shovel held over the fire. If 
they burn quietly, it is prophetic of a long and happy friend- 



* Dishes. 
13 



194 Autumn. 



ship kept up by both parties ; but if in roasting they burst with 
a loud report and fly apart, they are decidedly uncongenial, 
and should not seek much intercourse. The movements of the 
nuts while heating are closely watched, for the tempers of the 
persons for whom they are named is said to be thus revealed. 

Kaling 

is a mode of telling one's fortune not as well known, perhaps, 
as the foregoing methods. The ceremony is carried out in the 
following manner : Two girls are blindfolded and started off on 
the path to the kitchen-garden and cabbage-patch, where each 
pulls up the first stalk she finds. They then return at once to 
the house, where the bandages are removed and the mysterious 
stalks examined. 

According to the state of the stalk, so will be the gatherer's 
fate. If it is straight or crooked, large or small, so will the 
future husband be ; if it has a pleasant taste, or the reverse, 
the character of the person will correspond, and the quan- 
tity of earth clinging to. the roots denotes whether their riches 
will be little or great. 

When there are no cabbages at hand, almost any other gar- 
den vegetable will answer ; and if there be objections to going 
out-of-doors, vegetables of various kinds, such as turnips, beets, 
and parsnips, may be placed on a table, and the persons blind- 
folded can choose from them. No doubt the charm will work 
as well with the plants upon a table as when they are pulled 
from a kitchen-garden. 

The Magic Mirror, 

which is simply a hand-glass on ordinary occasions, and gains its 
mysterious power only on Halloween, divulges, under certain 
conditions, the delightful secret of how many bits of good-fort- 
une will fall to one's share during the ensuing year. The con- 



A II- Hallow- Eve, • 1 95 

ditions are that the person wishing to know how bright her 
prospects are shall go to an open window or door from which 
the moon is visible, and, standing with her face in-doors, hold 
her mirror so that the moon will be reflected in it. The num- 
ber of moons she sees there betokens the number of times some- 
thing pleasant will happen to her before the advent of another 
Halloween. 

Three Tin Cups 

partially filled with water are balanced on the small ends of three 
funnels, which are placed in a row on the floor, about two feet 
apart. Over these cups, one after another, each member of the 
party must leap in turn. Whoever succeeds in leaping over all 
three cups without knocking any of them ofl" will make an early 
marriage. The person who knocks over one will marry when 
not so young. The marriage of the one who tips over two cups 
will be deferred until late in life, and she who leaps none of 
them safely will not be married at all. 

To guard against wet feet very little water should be put in 
the cups — only enough to make the players careful about tipping 
them over. 

The Ring Cake 

is always an object of interest at Halloween parties. The cake 
itself is made like the ordinary kind, but before it is baked a 
plain gold ring is hidden in the dough, not to be taken out 
until the cake is cut and it falls to the share of the fortunate 
person in whose slice it happens to be found. The ring is 
sometimes put in a flour-cake, which is simply flour packed into 
a cake-mould so firmly that when it is turned out it retains the 
shape of the mould and can be sliced ofl" with a knife. Each 
member of the party cuts her or his own section of flour, and 
whoever secures the ring, it is confidently stated, will be the first 
of the group to marry. 



196 Autumn. 

Some Halloween games apparently have no particular 
meaning attached to them, but seem to be devised for the pur- 
pose of creating as much fun as possible. 

Bobbing for Apples 

is, perhaps, familiar to most of our readers, but we give a de- 
scription of it here for the benefit of the few who may not know 
the game so well. 

In a large tub full of fresh, cold water several apples are 
placed, and it is the object of the participators to take them out 
of the water with their teeth. 

As the rosy-cheeked, tempting fruit bobs about within easy 
reach, it looks simple enough to secure a prize ; but the apples 
are so round and slippery, so aggravatingly illusive, that, unless 
you thrust your head and neck beneath the cold water, regard- 
less of consequences, and drive an apple to the bottom, the feat 
cannot be accomplished. The girls can seldom be induced to 
try their luck in this game, but usually content themselves 
with looking on, immensely enjoying the frantic endeavors of 
the boys to succeed at any cost. 

The Apple and Candle Game 

is another favorite sport for Halloween, and is played as follows : 
From the ceiling is suspended a stout cord, the lower end of 
which is securely tied to the centre of a stick about a foot and 
a half long. On one end of the stick is fastened an apple, on 
the other a lighted candle. The string is set in motion, swing- 
ing back and forth like a pendulum, and the contestants for the 
prize stand ready, each in turn, to make a grab for the apple, 
which must be caught in the teeth before it can be won. Fre- 
quently the candle is caught instead of the apple, which mishap 
sends the spectators ofTinto shouts of merriment ; but although 
funny, it is at the same time a little dangerous to catch a lighted 



A II' Ha How- Eve. 197 

candle in one's teeth, and we would suggest that a bag made of 
cheese-cloth, or like thin material, be filled with flour and tied 
to the stick in place of the candle. When the person essaying 
to snatch the fruit is struck m the face with the bag, and is 
covered with flour instead of the glory anticipated, as much 
mirth will result as can possibly arise when the old and danger- 
ous practice of using a candle is clung to. 

The Ghostly Fire 

should not be lit unless all of the party have strong nerves, for 
the light it produces is rather unearthly, and may aflect some 
members unpleasantly. We, at our Halloween parties, never 
omitted this rite, however, its very weirdness proving its strong- 
est attraction. Salt and alcohol were put in a dish, with a few 
raisins, and set on fire. As soon as the flame leaped up we 
clasped hands and gayly danced around the table, upon which 
burned our mystic fire. The laughing eyes and lips looked in 
strange contrast to the pale faces of their owners, from which 
the greenish Hght had taken every vestige of color. The dance 
was not prolonged, for it was our duty, before the fire was 
spent, to snatch from the flames the raisins we had put in the 
dish. This can be done, if one is careful, without as much as 
scorching the fingers, and I never knew of anyone burning 
themselves while making the attempt. 

Trying for a Raisin 

is a very laughable performance. The raisin, which must be a 
good-sized one, is strung on and pushed exactly to the middle 
of a soft cotton string about one yard long. Two aspirants for 
the prize then take each an end of the string, which they put in 
their mouths and commence to chew, taking it up as fast as 
they can — the raisin falling to the share of the person who suc- 
ceeds in reaching it first. 



198 Autumn. 



A Lighted Candle 

is again used in a game which is exceedingly amusing. The 
candle is placed upon a table in full view of everyone ; then 
one of the players is blindfolded, turned around several times, 
and set free to seek for the candle and blow out the light, if 
possible. 

To see girls, with their hands clasped behind them, going 
crazily about the room, blowing at anything and everything, is 
very ludicrous. They seldom find the candle, and even when 
the table is reached it is difficult to blow in such a direction as 
to extinguish the flame. 

The Fairy's Gifts 

are suggested as a new and original ending of a Halloween frolic. 

The Fairy Godmother, in Mother Hubbard costume, carries 
a large basket under her cloak or shawl. She enters the room 
and announces that she has a certain number of gifts which she 
proposes to distribute among the company. After cautioning 
all that the contents must be kept secret, she passes to each per- 
son a folded paper. On one is written *' Wealth,'' on another 
'* Honor,'' on the third ''Fame," etc., and some of the papers 
are left blank. 

Those whose papers contain the names of gifts are then 
blindfolded, preparatory to receiving their behests. 

The first is led up and made to kneel before the Fairy God- 
mother, to whom she repeats these words : 

Most gracious Fairy, the gift you give 
I shall treasure and keep as long as I live. 

Then the paper containing the name of the gift is handed the 
Fairy, who reads it aloud very solemnly : '' Wealth " — and, turn- 
ing to her basket, she takes from it a new dust-pan, to which is 
attached a ribbon-loop, at the same time reciting these lines : 



A II- Hallow- Eve. 199 

Your choice is bad when you intrust 
Your happiness where moth and rust, 
In time, turn all your wealth to dust. 

From a paper-bag the Fairy pours a small amount of dust 
over the kneeling girl, and hangs the dust-pan around her neck. 

The next person who has drawn a prize is then brought for- 
ward and the performance is repeated, only altering the Fairy's, 
speech. For ^^ Honor,'' she will say: 

Your honor crowds shall loud declare, 
But in your heart, no crowd is there. 
You'll find, like Falstaff, " honor's air." 

The present here is a pair of bellows, from which the Fairy 
blows a blast on the bowed head before her as she utters the 
word air. The bellows, like the dust-pan, are hung by a ribbon 
around the recipient's neck. 

For ^^Fame^' the Fairy gives a wreath of roses, and says, as 
she adjusts the crown : 

When Fame doth weave a laurel-wreath. 
He weaves this subtle charm beneath ; 
" For every evil thought that's born 
The laurel grows a prickly thorn ; 
But where pure thought and love reposes, 
The laurel-wreath's a wreath of roses." 





Buckefe Portiere. 



CHAPTER XVIII. 




NATURE'S FALL DECORA- 
TIONS, AND HO^V TO 
USE THEM. 

HESE beautiful decorations are free to 
all who care to possess them. Every 
autumn comes to us laden with orna- 
ments which no skilled workman can rival. The 
graceful golden-rod, so rich in color, sways and 
^ bends over the low stone walls, and in the fields 
wild flowers of all kinds grow in great profusion. 
White, spreading wild carrot, yellow and white dai- 
sies, light and dark purple asters, and sumach, with 
its varied hues, give color to the landscape on our 
bright fall days. There are also the queer-shaped pods and 
feathery, silky seeds peculiar to some wild plants ; among others 
the poor ** vagabond thistle," which has donned its robe of 
glistening white, although some of its tribe still wear their 
faded purple gowns. The latter may be gathered for thistle-pufifs, 
and all the objects mentioned can be used in home decorations. 
We cannot pass by unnoticed the brown milk-weed pods, 
for within the shells, full well we know, are hidden the silvery, 
downy seeds which make such pretty milk-weed balls. Here, 
too, we notice the rich coloring of bark as well as foliage, the 
bright scarlet berries contrasting with the brown, yellow, and 
green leaves. The vine, once a fresh green, is now changed to 



202 AutMrnn, 



deep crimson ; even the tiny leaves of the wild strawberry and 
some grasses have touches of red on their edges. 

How the rich coloring of autumn differs from the delicate 
tints of spring, when the promise was made in bud and leaf, 
which is now realized in the bountiful harvests ! 

Having such a wealth to glean from, we scarcely know what 
to take first ; but for decorations to last only a few hours it would 
be difficult to imagine anything more brilliantly appropriate than 

Fresh Autumn Wild Flowers 

and small branches of brilliant fall leaves. At the time of this 
writing wild flowers are very popular ; one of our daily papers 
records a wedding which recently took place, where the display 
of wild flowers was beautiful in the extreme. Curtains of wood- 
ferns were caught back with golden-rod, and a bower of holly 
and oak was fringed with clusters of scarlet bitter-sweet berries. 
Daisies were also used in abundance, while the beauty of the 
little church was enhanced by the masses of white blossoms and 
oak-branches. 

This idea can be used advantageously in decorating the 
house for evening parties and receptions, or afternoon teas and 
coffees. Have the flowers and foliage in masses, the effect is 
much better ; and if you gather very large, hardy ferns with their 
roots attached they will make exceedingly graceful decorations, 
and placed in water or wet sand they will remain fresh for days. 

When golden-rod is gathered in its prime it will keep nearly 
all winter without fading. Do not put it in water ; all that is 
necessary is to keep it dry. The rich brown cat-tails should 
be treated in the same manner ; these must be gathered at their 
best, before they are too ripe. Bitter-sweet berries will last for 
months and retain a bright red. The old-fashioned honesty, 
with its white, satiny pods, keeps perfectly for any length of 



Nature's Fall Decorations, 



203 



time. The wild rose-bush in the fall is decked with seed- 
coverings, which closely resemble scarlet berries ; these will 

last for many weeks. The .^.^v- ^\v 

wild clematis, with its 

festoons of hazy fluff, will 

keep for a long time, and 

always looks well when 

thrown over and on the 

top corner of a portiere 

and allowed to hang nat- 
urally down a little on 

one side, or arranged in a 

similaf- manner over the 

tops of windows, doors, 

pictures, or wherever it 

will look graceful. It should 

hang out of harm's way, as it 

is brittle and easily broken when dry. 
For entertainments, the more elab- 
orate and bountiful the decorations of fresh ^ 

wild flowers the more beautiful will the house 

appear ; but for every-day life during the cold 

weather, when we have only the dried fall plants, 
we may almost make up for the 
lack of fresh flowers by using judg- 
ment and taste in arranging the 
dried ones. Though wild flowers 




a 



m 



'^ 






l» 



4M 



^%^j> 



^-.■^ 



^1 






^^^ 




A young Decorator. 



204 Autumn, 



are beautiful, you must use taste in their arrangement and not 
mingle them together promiscuously, but make a judicious se- 
lection, for where a light bunch of golden-rod would be the 
very thing needed to give color to a particular spot, should 
the dark cat-tails be placed there the effect might be lost. 
There are places where some high, stiff decoration would look 
best, and others where the soft, swaying clematis seems to be- 
long. As with everything else, so with our decorations, we 
must seek to have harmony. 

Who has not admired the dark-brown, glossy buckeyes and 
horse-chestnuts, and wondered what use could be made of them ? 
Children love to gather them and come home with their pock- 
ets and baskets full, only to play with them for awhile, and 
then the pretty dark balls, each marked with a spot of light 
cream-color, are thrown away or lost. 

Now, the next time the buckeyes are collected save every 
one and make a 

Buckeye Portiere. 

The writer assures you that you will find it much easier to do 
this than she did to make a picture of the curtain, for it is diffi- 
cult with a pen-and-ink drawing to give an idea of the richness 
of color in the handsome hangings these horse-chestnuts make 
when properly fashioned into a portiere for hall or doorway. 
Two full bushels of buckeyes will be needed to make a curtain 
two yards and a half long and one yard and a quarter wide. 

Take a very large, long needle and a strong, waxed thread 
a little longer than you desire to have your curtain, make a 
large knot in the end of the thread, and commence to string 
your buckeyes in the same way as stringing beads or buttons. 
Continue until the thread in the needle is exhausted, then tie 
the thread in a large knot close to the last buckeye, leaving a 
length of three inches of thread. Make your other strands in 



Natures Fall Decorations. 205 

the same way. When all are finished, fasten as many small 
screw-eyes in a straight line on a curtain-pole, or a rustic pole 
if desired, as there are strands of buckeyes, and tie securely to 
each screw-eye one string of buckeyes. When all are fastened 



fco 



Birch-Bark Support for Pole. 

on, your portiere is finished and ready to be hung. This is easily 
accomplished if the pole used is a regular curtain-pole, as they 
always come with brackets ; but should your pole be rustic, it 
must be supported by bands of strong birch-bark, or leather, as 
in Fig. 131. Our illustration shows over the portiere a 

Panel of Fall Decorations. 

These also look handsome over windows and doors, and you 
are at liberty to use ornaments of all styles, for the panels are 
placed where there is no danger of anything coming in contact 
with them to break off the decorations or mar their beauty. 
Any kind of board will do for the panel, rough or smooth, as 
you like. Paint the board a pure white, then decide on your 
ornaments, which may be a chestnut-branch with bursting burs 
attached, sprays of common wayside velvet-leaf with clusters 
of pods clinging to them, a piece of black-berry vine with its 
twigs, thorns, and dried berries, or branches of buckeyes with 
some of the nuts falling from their horned shells. 

Select according to your fancy, and gild the decorations 
chosen, then tack them on the panel. It is best to place the 
ornaments on the board while the paint is soft and wet, for then 
it will help to fasten the decoration more securely ; if the paint 
be put on thick where the ornaments are to be placed, they will 



2o6 



Autumn. 



lie partially embedded in the paint, and when it dries they will 
appear as if carved from the wood.* 

A white and gold panel made in this way is very pretty and 
inexpensive. 

The fall decorations also enable us to make a very effective 



Louis Quinze Screen. 

For this it is necessary to have two small wooden hoops, such 
as children roll along the streets ; fasten these together with a 

strong piece of white tape, two or 
three inches wide, cut the end of 
the tape bias, tack this on the side 
of one of the hoops, bring it around 
between and over the other hoop, 
and tack it again, repeat the opera- 
tion and the hinge will be finished 
(Fig. 132). If you look at the hinge 
on a wooden clothes-horse you will 
understand how to make one. Fig. 
133 shows the hoops fastened togeth- 
er. Now cut two pieces of coarse, 
strong cotton cloth, a little larger 
around than the hoops, and place 
one of the pieces smoothly over one 
of the hoops ; tack it down, driving 
the tacks in far apart, and so that 
they can be easily extracted ; if the 
cloth wrinkles, keep changing it un- 
til the surface is perfectly even ; when this is accomplished care- 
fully tack the covering securely down, keeping it smooth and 

* For this work the staple-tacks used for tacking down matting will be 
found very convenient. 




Hinge for Louis Quinze Screen. 



Nature s Fall Decorations, 207 

without wrinkles. In like manner tack the remaining piece of 
cloth on the other hoop. Next get four broomsticks and cut a 
notch on each one, at exactly the same distance from the top, for 
the hoops to fit in. Then measure where you wish the hoops to 
be placed and cut another notch on each stick a certain distance 
from the bottom ; all the sticks must be of the same length and 
have the notches cut in the same places, so each one may be a 
duplicate of the others. Mark the hoops where the sticks are 
to fit, and then fasten them firmly on with small screws. Make 




Hoops Fastened Together for Louis Quinze Screen. 

the screen strong, so that there will not be any danger of its 
coming apart. Give each cloth a sizing of common flour-paste 
on both sides, then scrape off all the paste with a knife ; in this 
way the cloth will be starched and prepared to receive the paint. 
When the screen is thoroughly dry, sew a branch across one of 
the disks and some waxed fall leaves in the places where they 
would naturally lie on the branch ; when these are securely at- 
tached, decorate the other disk with something different ; acorns 
can be used if cut in halves ; but never place any ornaments on 
the screen which will not lie flat, for if they stand out they will 



208 



A74htmn. 



be broken off or injured by persons passing and brushing against 
them. Now give the screen a coat of white paint all over, includ- 
ing the branch and leaves, but do not paint the hinge. Set the 
screen away until it is perfectly dry, then gild the branches and 
leaves, connecting the latter with the twigs by painting a line of 




Louis Quinze Screen. 

gold between the two. Gild a ring around each pole near the 
top and another near the bottom, and cover the edges of the 
hoops where the cloth has been fastened on by tacking white 
gimp around each one, using fancy brass-headed tacks and 
placing them at equal distances apart ; this completes the orna- 
mental screen. 



Nature s Fall Decorations. 



209 



Should you de- 
sire it, the screen 
can be painted 
black or any 
other color, and 
the decorations 
bronzed instead 
of gilded. The 
bronzes come in 
different shades, 
and the color of 
real bronze can 
be easily copied. 
As an orna- 
ment for the din- 
ing-room 

A Panel of 
Field-Corn 

is very decorative 
and easy to make. 
When the corn 
ripens, select 
some nice, firm, 
golden ears, with 
husks and with- 
out ; then break 
off pieces of corn- 
stalk and group 
them together, as 
in the illustration; 
cover a board of 
14 




2IO Autumn, 



requisite size with a piece of old black velvet ; if you have no 
velvet, paint the board black, and after tying the corn firmly 
together, tack it securely on the board, and the dark back- 
ground will bring out the many yellow tints of the decoration 
beautifully ; fasten two screw-eyes in the back of the board, by 
which to attach the wire, and the panel will be ready to hang 
on the wall. 

The corn can also be fastened to a rough board of the de- 
sired size and the panel and decoration bronzed, using green 
bronze for the background and portions of the group, while all 
the edges and prominent points should be of copper-colored 
bronze. 

Early in November the many varieties of gourds ripen, and 
their odd and fantastic forms seem like nature's suggestions of 
the unique in ornamentation. So suggestive are they that it 
needs but little originality to make them into many useful and 
beautiful articles. As a decoration for looping over the poles 
of portieres, and for holding back draperies, these 

^ Ornamental Gourds 

are convenient. They must first be allowed to become perfectly 
dry ; then they can be made into tasselled festoons. Take six 
mock-oranges, which imitate so closely our real oranges in 
•color, size, and form, and cut a hole about the size of a silver 
dime in the top and bottom of each one ; then shake out the 
seeds. To make the openings in the gourds, first bore a small 
hole with the point of a large needle, then twist the needle 
around and around until it will easily pass through. Next, 
carefully enlarge the opening with a sharp penknife until it is 
of the stated size. Make a rope two yards and a half long of 
Persian colored wools or worsted ; on the end fasten a slender 
tassel, six or seven inches long, made of the same worsted ; now 



Nature s Fall Decorations, 2 1 1 

string one of the bright orange-gourds on the rope down against 
the tassel, which should be large enough to prevent the gourd 
from slipping off; make another similar tassel, and attach it to 
the rope about twelve inches from the first one, and thread an- 
other gourd on the rope, bringing it down against the second 
tassel ; proceed in like manner with the remaining gourds, 
making a tassel for each one, and you will have a decoration 
unlike any to be found elsewhere. 

We are all more or less familiar with the 

Gourd-Dippers 

so common in the South, where, in olden times, scarcely a spring 
bubbled in a rustic nook that was not supplied with its drinking- 
gourd. These dippers are made by sawing an opening in the 
large part of the gourd, scraping out the contents, and making 
the inside as smooth as possible with sand-paper. They need 
no ornamentation. 

The kind of gourds resembling flattened globes can be made 
into graceful and unique 

Bowls. 

The gourds must be sawed into two parts, with the inside of 
each sand-papered, and flowers painted, with oil-colors, on the 
outside. After they have thoroughly dried, give a coat of white 
varnish to both the inside and outside. A pretty 

Bonbon-Box 

can be fashioned of one of these gourds. Saw off the top, which 
will serve as a lid, and fasten it to the bowl with narrow ribbons 
tied through holes at the back of each ; line both lid and box 
with satin by gluing it along the edges with stiff glue put on 



212 



Autumn, 



sparingly, and cover the raw edge of the satin with chenille ; 
this is also put on with a little glue. Do not allow the chenille 
to interfere with the closing of the box, but place it along the 
inside edge of the box and lid. 
Another form is the 

Bottle-Gourd. 

Ornament this with ivy-leaves painted as if twined around 
bowl and neck, and when the paint is dry varnish the gourd 
all over ; if you wish it for use as well as decoration, saw off 
the top about two or three inches deep, shake out the seeds, 
then fit a cork in the piece cut off, and so glue it in that the 
cork may extend an inch downward to fit in the bottle. 

The large egg-shaped gourds look well as 



Vases. 

Select a deep-colored gourd, saw off the top and scrape out 
the inside ; then varnish the vase and mount it on feet of 





Wire Twisted for Feet of G-ourd-Vase. 



Finished Wire Feet for Gourd- Vase. 



twisted wire, made according to Fig. 134 ; bend down the feet, 
as in Fig. 135, when the wire will be formed into Fig. 136. To 



Nature's Fall Decorations. 



213 



fasten this on the vase, first bore holes in the bottom of the 
gourd, then sew the feet firmly on, passing the needle through 




Ornamental and Useful Gourds. 



the holes previously made and bending the wire a little to fit to 
the gourd. Gild the wire feet, and your vase is finished. An- 



214 Autumn, 



other way is to save the top sawed off, fasten an ornament of 
twisted wire on the top of it, and then, after making the vase 
as the one just described, add bands of gilded cardboard made 
to fit the gourd, fastening them to the vase with glue. Handles 
can also be fashioned of cardboard and sewed to the upper 
band before it is glued to the vase, as in the illustration. 

There are many other ways of utilizing gourds, but we will 
leave it to your ingenuity to think up new and pretty conceits. 

Pine-cones, large and small, acorns, and balls from the sweet- 
gum tree, can be used as . 

Small Decorations. 

Never try to fasten them by the natural stems, for these 
will soon break off, but place in each one a small screw-eye, 
and when tied in groups they form ornaments for waste- 
baskets and fancy baskets of all kinds. We have seen chan- 
deliers with gilded cones hanging from the different points, 
and being the identical color of the chandelier, they seemed 
of the same metal, and added novelty and grace to its appear- 
ance. 

There are some varieties of the tree-fungi which make dark, 
rich-colored 

Brackets. 

Use heavy cardboard or thin board as a covering for the 
back ; have this fit the fungus perfectly, and fasten it securely 
in position with very stiff glue or nails. Paint the back the 
same color as the fungus, and on either side of the upper edge 
place screw-eyes by which to fasten up the bracket. 

Many of the curiously formed galls and oak-apples to be 
found on different trees can also be employed as ornaments. 

Nothing can be finer than our briUiant autumn season, which 



Nature s Fall Decorations. 



215 



is said to be more beautiful in this than in other countries, with 
its crisp mornings and bright sunny afternoons. 

When the weather is too lovely to remain in-doors, and all 
nature invites us out, then is the time to gather our fall decora- 
tions. 





The Little Biown Squirrel. 




CHAPTER XIX. 

NUTTING-PARTIES. 

FF they go with bright, laughing eyes and 
glowing cheeks, each one carrying 
a light little basket or fancy bag 
slung carelessly on her arm. The 
girls are full of life and spirits as 
they walk briskly along toward 
the woods in the delightful fall 
weather, talking and laughing in 
a happy, thoughtless fashion, now 
teUing where the best nuts are to 
be found, the shortest route to take, or where the prettiest walks 
lead, and again lingering or stopping to admire the many won- 
derful beauties of autumn. Leaving the road they enter the 
woods, where the dry leaves rustle pleasantly beneath their feet, 
and in some places the gold and brown leaves through which 
they walk lie ankle-deep. 

All this is fully enjoyed by the party as they proceed on 
their way discussing the best place for lunch, which considera- 
tion is quite important, as it is necessary, if possible, to be near 
a clear, cool spring ; otherwise the water must be transported. 
Arriving at the selected spot about noon, all bring forward 
their baskets and bags to contribute the contents to their 
'* nutting-dinner." Soon the white cloth is laid and the tempt- 
ing feast spread, when the hungry but merry maidens gather 



2i8 Autumn, 

around to relish their repast in the forest, where, all about, are 
seen sure signs of coming winter. 

The airy dining-hall is carpeted with the softest moss, and the 
gorgeous coloring of the surrounding foHage is far more beau- 
tiful than the most costly tapestry, while the sky forming the 
roof is of the serenest blue. 

Now and then the sound of falling nuts is heard as they drop 
from the trees. This is music in the ears of the girls, and they 
hurry through their lunch, collect the empty baskets, and are 
soon busy gathering the glossy brown chestnuts, which are 
thrashed down from the branches by some of the party, who 
use long poles for the purpose. Down comes the shower of nuts 
and burs, and away the party scamper to patiently wait until it 
is over, as the prickly burs are things to be avoided. Some wise 
girls have brought tweezers to use in pulling open these thorny 
coverings. Others have their hands well protected by heavy 
gloves which cannot easily be penetrated with the bristling 
spikes. 

It does not take long to fill their bags, and the one who first 
succeeds in the feat receives the title of ' ' Little Brown Squirrel." 
Then all the others, for the rest of the day, obey her wishes. 
Nor is this difficult, for their Little Brown Squirrel is blithe 
and gay, generous and kind, and does all in her power to 
render her subjects happy. 

As they turn their faces homeward the girls plan for another 
nutting-party to come off soon, for they wish to make the most of 
the glorious Indian summer, which belongs, we claim, exclusively 
to our country, and which may last a week or only a few days. 

The chestnuts are brought home, where in the evening some 
are eaten raw, others have the shells slit and are then roasted 
or boiled, making a sort of chestnut festival, as in the North of 
Italy, only of course on a very much smaller scale, for there the 
peasants gather chestnuts all day long and have a merry-making 



Nutting' Parties. 



219 



when the sun goes down. This har- 
vest lasts over three weeks and is a 
very important one to the dark-eyed 
Italians, who dry the nuts and grind 
them to flour, which is used for bread 
and cakes during the barren season. 
The harvest in the Apennines is quite 
an event, as the trees are plentiful, 
the fruit is good, and the people glad- 
ly celebrate the season. 

Our thin, white-shelled shag-bark 
hickory-nut is peculiarly American, 
and many a nutting-party have found 
its delicate and agreeable flavor very 
welcome when, gathered around a 
large rock, they crack a few to sam- 
ple their fruit before returning home. 




Blossom and Fruit of the Ohestnut-Tree. 




These nuts are only cooked by covering the kernels with hot 
candy, and thus prepared, they make a delicious sweetmeat. 
When cracking hickory-nuts, hold each nut firmly by the 



220 Autumn. 



flat sides, bringing uppermost one of the narrow sides ; strike 
this and the nut will open so that the halves fall out, or may 
be easily extracted, and occasionally the kernels will come out 
whole. We have seen quaint little figures, with the heads 
made of hickory-nuts, the pointed end forming the nose, and 
the eyes and mouth marked with ink, giving a comical ex- 
pression to the peaked face. 

The neat little three-cornered beech-nut is easy and pleasant 
to gather, making a desirable change for the '' nutters" after 
going for other kinds, and the trees with their beautiful foliage 
render the scene very attractive. But not more so than do the 
lofty and stately walnut-trees with their rich, brown fruit en- 
cased in such rough shells, whose outside covering is so juicy 
that, unless we are very cautious, it will stain our hands its own 
dark color. The black-walnut tree (J. nigra) is indigenous to 
the United States, and we are informed that a celebrated speci- 
men is still standing at Roslyn, L. I., where, the seed was 
planted in 1713. The tree measures twenty-five feet in circum- 
ference at three feet from the ground. 

Butter-nuts, so significant during our civil war, also belong to 
America ; the meat, though quite oily, is sweet and agreeable. 

Butter-nuts will repay anyone for gathering them, though, 
like the walnut, the outer husk is apt to stain the fingers ; but 
this may be avoided by wearing gloves while handling the 
fruit. The cross-sections of the shells, when properly polished, 
make pretty ornaments. 

Although we are all fond of the round little hazel-nut, they do 
not seem to be as plentiful as could be wished, and it is seldom 
we have the pleasure of going hazel-nutting, yet when the op- 
portunity occurs, it is rare sport and an event to be talked of 
afterward. 

Nuts are to be found in all portions of the country, and the 
varieties depend upon the section in which you live. 



Nutting- Parties. 



221 



Rules for Nutting-Parties. 



1. In selecting the members of a nutting-party be careful 
to choose only those on whom you can safely depend for cheer- 
fulness, kindly 
feeling, and a 
willingness on 
their part to 
do all in their 
power to as- 
sist, should oc- 
casion arise, in letting 
down the bars of a fence, 
going for water, or any- 
thing which might happen to re- 
quire their services. 

2. Decide by majority any case of 
controversy in. regard to destination, the best 
place and way of crossing a brook, which 
route to take, or in fact any ques- 
tion concerning the comfort and 
pleasure of the party, until the 
''Little Brown Squirrel" wins her 
title. Then she rules 
absolutely and settles all 
questions accord- 
ing to her best 
judgment, giving 
council and friend- 
ly advice to 
those who 
ask it. All 
differences being referred 



Pea-Nut Vine and Fruit. 



to her, the decision is considered 



222 Autumn. 



final, and the party must obey when their Little Brown Squir- 
rel directs. 

3. The one who gathers the greatest quantity of nuts in a 
given time wins, and receives the above much-desired title. 
The standard of measure being previously decided upon by the 
party, the time may be either long or short, as desired. 

4. The badge given to the successful competitor may consist 
of fall leaves or nuts tied with a brown ribbon. This she keeps 
in remembrance of the delightful day spent nutting in the woods 
when she was a Little Brown Squirrel. 

Select, if possible, a day in Indian summer for your nutting- 
party, and it is well to wear a gown that will not easily tear, 
catch the dust, or spot — not that these accidents are always to 
be met with on such excursions, but they might happen, and 
we must be on the safe side, so that no thought or anxiety 
need be given to the clothing. 

If your party contemplates a series of nutting-picnics, pro- 
pose that they shall go for different varieties each time. This 
will add novelty and zest to the excursions ; and should the 
distance in some cases be too great for a walk, secure a vehicle 
with a good reliable driver, and the ride will be particularly 
enjoyed. This mode of travelling procures another change in 
the programme, which should be as varied as you can niake it. 
Let the plates for your dinner be of wood or paper, to avoid 
the necessity of carrying them home. A table-cloth- made of 
large sheets of white paper is a good substitute for damask, and 
after doing service the paper may be thrown away,- leaving 
your baskets entirely empty to be filled with nuts. 

There grows a nut, highly prized, that is never gathered by 
nutting-parties. Nor could they see it if they examined every 
tree throughout the country. Yet it flourishes in this climate, 
and may be seen any day at the fruit-stores and corner-stands. 
The shells of these furnish odd fancies for little trifles made by 



Nutting-Parties, 



223 



girlish fingers. Cut in the shape of slippers and glued to a 
card, they seem suitable for a wood-nymph, and the card is 
used as a birthday or menu card. Strung together with nee- 
dle and thread, and dressed in costume with black thread for 
hair, they make quite a good-looking Japanese. 

Glued on a twig and marked with ink in representation of 
the birds, they look not unHke owls perched on a limb. When 
divided in halves the shells are transformed into tiny boats with 
tissue-paper sails. This nut boasts of four names : gouber, pin- 
dar, ground-nut, and the familiar name of pea-nut. 




iP" 




CHAPTER XX. 

HOW TO MAKE A TELEPHONE. 

ELLO ! Hello ! What is it you say ? You can 
really make a telephone ? What fun ! How far 
will it work ? You think it can be heard a long 
distance ? Very good. Could we manage to 
construct such a one ? How, pray tell us ? 

The answer which came back over the line 
we give in a more concise form, as follows : 
The best way to make a simple telephone is to procure two 
round, medium-sized tin baking-powder boxes, and remove the 
bottoms with a pair of pinchers ; then soak two pieces of 
Whatman's drawing-paper, or any other strong paper, in a ba- 
sin of water for a few moments, and when thoroughly wet take 
them out and place one smoothly over the end of each box. 
Fasten these down by winding a waxed cotton twine securely 
over the paper and box, and tying it tightly (Fig. 137). This 
done, allow the drums to become wholly dry, when they should 
be firm, even, and without wrinkles. Next cut away that por- 
tion of the paper which stands out, frill-like, beyond the string, 
and paste a narrow strip of paper around over the twine (Fig. 
138). Wax a piece of string of the desired length, and with a 
large needle or pin carefully punch a hole in the centre of each 
drum ; thread one end of the waxed string through one of the 
holes and make a large knot in the end, then cautiously pull 
the string until the knot rests on the inside surface of the paper. 



How to Make a Telephone. 



225 



Connect the other box to the string in like manner, so that the 
twine will have a box fastened on each end. 

The telephone is now ready for use ; and if the distance is 
short, the line may be stretched taut from 

point to point. But should 

the space be great, supports 

will be needed and loops 

must be made of the twine 

and fastened at intervals on 

trees, corners of the houses, 

or any available points, with 

the connecting cord passed 

through these loops (Fig. 
^ 139), which act as supports. 

Keep the course of the waxed string as 
straight as possible, and, as far as practi- 
cable, avoid sharp angles. This style of telephone we know, 
from personal experience, works perfectly at the distance of 






fifty yards, and doubtless it will do as well when the Hne is 
stretched much farther. Be particular, in selecting the tin 
15 



226 



Autumn, 



baking-powder boxes, to have them round and even ; if they 
are old and battered the experiment may not prove satisfactory. 

We find the telephone very 
useful and convenient, be- 
sides affording any amount 
of amusement and fun ; with 
its aid we converse with ac- 
quaintances, even though 
they be at a distance. The 
friendly little instrument car- 
ries the voice all along the 
slender line to the very ears 
of our best friend, and we 
can chat away as freely and 
almost as easily as if side by 
side. What a comfort to be 
able, when seated in your 
own room, to listen to the 
voice of some companion. 
Listening. Hviug perhaps blocks away, 

and it is such a pleasure, too, to have questions answered 
immediately, which is impossible in communications made by 
letter. Nor is this a pleasure to be enjoyed at rare intervals, 
for as long as the telephone lasts it can be used at any time 
for a short or long talk, as one may feel incHned. The con- 
sultations, the plans, the sport, and merriment to be had with 
the telephone can scarcely be appreciated by one who is not 
the happy possessor of such an instrument. 

When the weather will not permit of a walk or a visit, the 
telephone brings us, if not face to face, at least within speak- 
ing distance of those to whom we desire to talk. 

There are many other easy methods of making telephones. 
They can be manufactured as described without waxing the 




How to Make a Telephone. 



2.2ri 



string, or the boxes may be used unaltered, in which case the 
tin bottoms serve as drums, and the holes for the string- are 
made in the centre of each by driving a small tack through. 
With these instruments the voice cannot be sent a great dis- 
tance, but when only a short line is needed they succeed very 
well. 

More complicated telephones are made with the drums of 
bladder and the line of soft, flexible wire. Though good and 
serviceable, they are more 
difficult to make and require 
more time and labor. 

The two beef-bladders 
used for such a telephone 
must first be blown up, tied, 
and left about thirty hours, 
or until they are stretched, 
but not dried. When in 
proper condition, cut off the 
necks and portion of the 
ends, then soak them in 
warm water, and they will 
become very pliable and 
light in color. Having pre- 
viously prepared two square 
pieces of board by very care- 
fully cutting out a perfect 
circle in the centre of each, 
about as large as a medium- 
sized pie-pan or a tea-plate, 
place the bladders smoothly 
but not tightly over the 
openings, allowing the outside of the bladder to come on the 
bottom, and fasten it all around the circle, a little distance 




Speaking. 



228 



Autumn, 



from the edge, with tacks so driven in that they may be easily 
removed. 

Try the drums with your finger ; if they stretch evenly they 
are correct, if they wrinkle, change them until they stretch per- 
fectly smooth. Then tack a piece of firm tape securely around 
the edge of the circle, and cut off the bladder reaching beyond 
the tape. Next fasten four feet of soft, flexible wire to a large- 
sized gutta-percha button by threading it through the two op- 
posite holes in the centre of the button ; pass the other end of 
the wire through the middle of the bladder, bringing the button 
flat against its surface. 

After attaching a weight of about seven pounds to the end 
of the wire, place the drum in the sun until perfectly dry. Pro- 
ceed with the other in the same manner, and when both are 
well dried, fasten one on each end of the line and attach the 
drum-wires to the principal wire by loops ; then stretch it firm 
and tight. This telephone will also need loops for supports, 
which should be of wire. When the instrument is carefully 
and properly made it will carry the voice three or four miles or 
more, giving every word and tone distinctly and clearly. 




CHAPTER XXI. 




HOW TO DRAW.* 

GULD you like to learn to draw, to sketch 
from nature ? Don't you think that it 
would be delightful to be able to take out 
your pencils and paper and copy some scene 
you want to remember, or produce a likeness 
of any bird or animal which strikes your 
fancy ? 

Many will say, ** I'd like it very well, but 
I can't draw." 

You can write, can hold a pencil, and 
trace lines upon the paper ; and if you can 
do this, you can draw a little. A girl 
who can learn anything can learn to draw 
if she will give the same attention to it 
that she gives to other things. 

Now we are not going to talk about 
copying pictures which someone else has 
already drawn, for there is not much sat- 
isfaction in making imitations of other ^' 
people's work ; it is much more gratifying to make the original 
drawings ourselves ; but to do this we need some direction. 

*The material for this chapter is from an article written by. Professor 
Frank Beard for Harper's Young People. By permission of Harper & 
Brothers. 




230 



Autumn, 



The reason it is easier 
to copy a picture than to draw 
the real object is because the 
lines to be copied are all laid 
out on the flat surface of the 
picture ; but to draw the object 
we must find out where to trace 
the lines for ourselves. 

For instance, suppose we are 
to draw a flower-pot and plant. 
If we have the picture before 
us, we can readily see where all 



the lines are placed upon the paper, but in viewing a real plant 
and pot we are apt to become confused in trying to discover the 
directions and proportions of the lines. 




fJ^JU 



How to Draw. 



231 



Therefore we must learn to see things as they appear^ not as 
they really are. This may seem strange to you, because one 
is apt to think that a thing must appear as it is ; but let us look 
into the matter. 

We will take a square box (Fig. 140). Now, we know that 
all the sides are the same size, that the top is as large as the 
side, and that one side is as large as an- 
other ; but if you try to draw it so, you will 
find it impossible, because, although you 
know that the top and sides are the same 
size as the front, they do not look so, and 
you draw things as they look, not as they 
really are. 

What would our cube look like if we 
tried to make the sides K and H just like 
the side I ? Why, hke Fig. 141. Don't 
you see that would be no box at all ? 

Take another example. We all know 
that a man's leg is longer than his arm, but 
it doesn't always appear so. Measure the 
arms and legs of Fig. 142, and you will see 
by actual measurement the arms are longer 
than the legs, and yet it looks right, be- 
cause the legs are projected toward you ; 
in other words, the legs are fore-shortened. 

The great secret of drawing from nature is to train the eye 
to see a real object just like a picture. 

Now let us return to our flower-pot again. We will suppose 
we are drawing from a real flower-pot and plant. We determine 
how large we will make our sketch, and begin operations by 
drawing a vertical line (a straight upright line). Along this line 
we will mark out the proportions of the plant and pot, as in 
Fig. 143. 




Fj^.m 



232 



Autumn, 



We may easily discover that the plant is longer than the pot. 
This can be done by holding the pencil upright before the eye 
at arm's length, as in Fig. 144, so that it will cover the pot, and 
measuring by the thumb the height of the pot, then raising the 
arm so as to cover the plant, and comparing the measurement 
of the pot with the plant. The lines drawn from the eye Fig. 
144) show how the pencil makes the measurement on the object. 

After settling the question of the height of the flower-pot 
and plant, we will mark the measurements on the line. And 




now we will draw in the pot, leaving the straight line through 
its centre. 

On observing the plant we will see that it is not exactly 
straight, and here again the straight line will be of assistance. 

By holding up our pencil, which represents the straight line, 
we will discover that the main stem of the plant leans consider- 
ably to the left. Guided by the line, we can get the curve of 
the stem about right. Now we sketch the stem. Along the 
straight Hne we again measure the distance from the top of each 



How to Draw. 



233 



leaf and flower to the pot, as in Fig. 145. We can see several 
leaves, each reaching a certain height. Observing the same 
plan of measurement, we find that the top of the lowest leaf is 
about the same height from the pot as the height of the pot it- 
self, and again from the top of the lowest leaf to the top of the 
plant measures the same distance. 

By drawing another vertical line just touching the right side 
of the pot, we find that it touches the ex- 
treme edge of the leaf. Thus we find the 
exact situation of the leaf. By the same 
method we find the right places for the 
other leaves and flowers, and after we 
know just where they belong, we draw 
them in, and find that we have produced 
a very creditable outline from nature. 

We need not confine ourselves to one 
or two guiding lines in sketching an ob- 
ject ; in fact, we may use as many straight 
lines as will help us to get the correct pro- 
portions ; not only vertical and horizontal 
lines, but slanting lines will also assist us 
in most cases. 

The sketch of a dog (Fig. 146) will 
give an idea of the way to employ all 
lines necessary in sketching from nature. 
A few words will be all that is necessary to explain this illus- 
tration. 

There lies the dog on the floor, and we seat ourselves at a 
little distance from it with pencil and paper. We will start off 
with a horizontal line (A) ; then we can form some idea as to 
whether the little dog lies along a straight Hne, or in case the 
bottom line slants, how much it slants. Then draw the vertical 
line (B E). Now suppose we hold our pencil upright, in such a 




FJ^.14-S 



234 



Autumn, 




position as to touch the back of the knee-joint of the foreleg, 
we will find that it passes through the middle of the dog's back, 

as represented by 
the line (B E) ; so 
we have found the 
places for these 
parts. 

Another hori- 
zontal line (C D) 
drawn above the 
first will touch just 
over the right eye, 
pass through the middle of the left ear, through the middle of 
the neck, cut off the foreleg, and run along the top of the two 
hind legs, passing through the knee of the left one. This will 
show us that the top of the right eye, the ear, and the top of 
both hindlegs are on a line. It will also help us to get the 
proportions above and below the line ; then by drawing a line 
from D to the point F on the horizontal line A, we find that 
the lower edges of the left hind and fore legs 
are on the same line, which, if extended a 
little farther down, will touch the edge of 
the dog's mouth. With these lines to guide 
us we cannot go far astray in our propor- 
tions. 

One of the chief difficulties in following 
this method of drawing from nature is to 
hold our measuring-stick exactly vertical or 
horizontal. This difficulty can be overcome 
by providing yourself with a T-square (Fig. 
147) and attaching to it, at the point P, a 
string with a weight tied on the other end so that it will hang 
plumb. By using this we can be sure whether we hold it 




How to Draw. 235 



straight or not, for in case we tip it too much on one side or the 
other the string will swerve from the middle of the upright stick. 
Of course, whenever we hold the T-square perfectly straight, 
the string will fall straight down the middle of the upright, and 
the top of the T will then give us a true horizontal line. A lit- 
tle thought and practice will lead you to thoroughly understand 
this method, and when you really understand it you will have 
an unerring guide to assist you. Of course, as the eye and 
hand become more trained, with practice and observation, the 
work will become easier, and you will not need the T-square. 

In beginning the practice of drawing from nature, we had 
better confine our first efforts to things that will stand still, 
for without a practised hand it will be almost impossible to 
sketch a restless subject ; but if we attempt to do so, we 
should follow the methods before taught as nearly as possible. 

Now, suppose we step out of doors in search of something 
to sketch. The first moving object our eyes rest upon is a 
goose, and we decide to use him as a model. 

But he is so restless, will not keep still an instant. First we 
have a front view, then a side view, and again he turns his 
back upon us. If we really must have his picture, the only way 
is to catch him and tie him up. 

Yet even now he is a difficult subject, twisting and turning, 
and bobbing his head about. Determined on sketching him, 
however, we observe the position in which he remains the long- 
est time, or assumes oftenest, and begin our work. 

We first note the general proportions. Is his body as thick 
as it is long ? Is his neck as long as his body ? Are his legs 
nearest the head or tail ? Is the head as long as the neck ? 
What part reaches the highest, or what part the lowest ? We 
hastily but carefully consider these questions and determine in 
our own mind the answers, for we must get an idea of the pro- 
portions before we begin our sketch. 



236 



Autumn, 



Now we draw a horizontal line along our paper, and then 
hold up our pencil horizontally, so that it will answer for a 

straight line drawn across the 
body of the 'real goose (Fig. 
148). This will represent the 
horizontal 
line on the 
paper. No- 
ticing then 
the direc- 
tions the 
outlines of 
the goose 
take from the horizontal line (represented by the pen- 
cil), we sketch them in on the paper, remembering 
that one of the most important things is to get the right direc- 
tions of the lines. 

Observe that in Fig. 149 the line G is directed to too high 
a point, and makes the body too thick and out of proportion. 





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In sketching it is best to make all lines straight instead of 
curves, for in this way we are more likely to get the right direc- 



How to Draw, 237 



tions. Our first rough sketch of the goose ought to have some- 
thing of the appearance of Fig. 150, and as we work it up more 
carefully it will become as nicely rounded as we could desire. 

One of the most common faults a beginner is apt to commit 
is to try to do too much, either by choosing too great a subject, 
such as a large landscape, or by putting too many little things 
into the composition. Take care of the large things, and the 
little things will take care of themselves. 

If our subject be a clump of trees at some distance, we 
should not attempt to draw in separate leaves, but endeavor to 
get the true shape of the tree, simply indicating the leaves by a 
few lines. Neither must we attempt, in our first sketches, to put 
in all the shadows we see ; the strong principal ones are all that 
are necessary. A background of hills and trees should be 
merely suggested by a few lines, because the light striking upon 
them gives a very light appearance. 

Draw as simply as possible. Ten pictures are spoiled by 
putting in too much work, where one is spoiled by too little. 

Don't be discouraged. Every effort will show improvement, 
if you really put your mind and heart in your work. As for 

Materials, 

a sheet of drawing-paper, a No. 2 lead-pencil, and a piece of soft 
rubber are all you really need to commence with. Later it will 
be well to have a drawing-pad and several more pencils. 



CHAPTER XXII. 



HOW TO PAINT IN WATER-COLORS. 




HERE is a certain charm in water-color paint- 
ing — a charm distinctly its own — which lies, as 
Penley says, '* in the beauty and truthfulness 
of its aerial tones." Without this quality a 
water-color, as a water-color, is a failure. 

This transf^arency of effect does not depend 
alone upon the manner of painting or the col- 
ors employed, but much rests with the paper 
we use. In the days when our mothers and grandmothers 
were taught painting at school, the finest, smoothest cardboard 
was thought necessary ; but we have since learned that the flat, 
smooth paper tends decidedly toward producing a flat, smooth 
effect in the picture painted upon it, while the rough, uneven 
surface of the paper now in use helps to produce depth and at- 
mosphere. Therefore it is always best to have rough paper to 
paint upon. We give below the 



Materials for Water-Color Painting. 

1. A block of rough drawing or water-color paper. 

It is better to buy it in blocks than by the sheet, as it is 
much more easily handled, and is always ready for use. 

2. Brushes. The best brushes are made of sable, and al- 
though costing more to begin with, it is really more econom- 



How to Paint in Water-Colors, 239 

ical to purchase them than to choose the less expensive camel's- 
hair ; for the sable are by far the most satisfactory, and will last 
much longer. Three or four brushes are sufficient. As Devoe 
& Co. number them, they should range between No. 3, which 
is small enough for ordinary painting, and No. 19, for clouds, 
backgrounds, etc. 

3. Colors. A tin sketching-box of moist colors, which also 
contains a palette, is very useful, but the colors can be bought 
separately in tubes or pans. 

Water-color painting seems by its qualities to be especially 
adapted to flowers and landscapes, and as this is to be a chap- 
ter, not a book, on water-colors, we will confine ourselves to 
the principal points to be observed in these two departments, 
and will commence with the 

Flowers. 

Few oil-paintings, however well executed, give the deli- 
cate, exquisite texture of a flower as nearly as water-colors. 
The semitransparency of a rose-petal, the juicy, translucent 
green of the young leaf, it is difficult to truthfully represent 
in other than these colors, whose essential quality is transpar- 
ency. To preserve this transparency of color, everything about 
the painting must be kept exceedingly neat. The brushes 
must be thoroughly washed before using them for a different 
tint from that already upon them, and plenty of water, changed 
frequently, is necessary. 

Having arranged your materials conveniently upon a table, 
place your paper so that it will lie at an angle slanting toward 
you, not perfectly flat upon the table; this can be done by put- 
ting books under the edge farthest from you, thus raising it up. 
Stand the flowers you wish to copy in such a position that the 
light will fall upon them only from one direction and pro- 
16 



240 



Autumn, 



duce decided shadows ; the effect will then be much better than 
when the light is more diffused. 

Always arrange your model exactly as you want to paint it, 
and leave nothing to your idea of how it ought to look. If you 
do not intend to have any background other than the white pa- 
per, place something white behind your flowers. If you want 
a colored background, arrange the color you have chosen be- 
hind the flowers, and paint 
it as you see it. Commence 
your work by sketching 
lightly, as correctly and rapidly as you 
can, the outline of your flower. Try 




something simple at first ; say a bunch of 
heart's-ease or pansies, and when drawing 
them try to get the character of both flow- 
er and leaf. Observe how the stem curves 
where it is attached to the flower, and at what angles the stems 
of the flowers and the leaves join the main stalk. Given char- 
acter, an outline drawing painted in flat tints will closely re- 
semble nature ; without it, the most beautifully finished paint- 
ing will not look like the flower it is intended to represent. 

When your outline is drawn in, dip your largest brush 
in clear water, and go over the whole surface of your paper ; 



How to Paint in Water- Colors, 241 

then place a piece of blotting-paper over the paper to soak up 
the water, leaving it simply damp, not wet. 

If you are using tube colors, have ready on a porcelain 
palette, or ordinary dinner-plate, these colors : crimson lake, 
cobalt blue, indigo, Prussian blue, and gamboge. Put in your 
lightest tints first, leaving the white paper for the highest light ; 
then paint in your darker tints and shadows, and get the effect. 

If your flower is what we call the johnny-jump-up, the lowest 
petal will be yellow. Paint this in with a light wash of gam- 
boge, leaving, as we have said, the white paper for touches of 
high light. The two upper petals will probably be a deep 
claret-color ; this is made by mixing crimson lake and cobalt 
blue, the crimson lake predominating. The two central petals 
may be a bluish lavender, and this color is made by mixing a 
little crimson lake with cobalt blue. Use plenty of water ; but 
do not let it run, and keep the colors of the petals distinct. 

Paint the stems and leaves,, where they are a rich green, with 
a mixture of gamboge and Prussian blue, and where they ap- 
pear gray as the light touches them, a pale wash of indigo will 
give the desired effect. 

Keep your shadows broad and distinct, and your tints as 
flat as you can. Leave out details altogether in your first 
paintings, and add them afterward only when you can do so 
without spoiling the effect. 

When a tinted background is desired, put it in quickly in a 
flat tint, before commencing the flowers. It is best not to bring 
the tint quite up to the outline, as a narrow edge of white left 
around the flower gives a pleasant, sketchy look to the painting. 

Landscapes. 

In your first studies from nature keep to simple subjects^ 
and treat them simply, without any attempt at elaboration. 



242 Autumn, 



Choose, for instance, a picturesque corner of an old fence, with 
perhaps a bit of field and sky for the background. Sketch in 
the principal features in the foreground in outline, and indicate 
the horizon, if it comes in the picture. 

Penley says, in his " System of Water-Color Painting,'* 
**• White paper is too opaque to paint upon without some wash 
of color being first passed over it," and he recommends a thin 
wash of yellow ochre and brown madder y which should be 
put all over the surface of the paper except on the high lights 
in the foreground, which are best left crisp and white. 

Notwithstanding what Penley says in this matter, it must be 
borne in mind that some artists do not believe in successive 
washes, but claim that the color desired should be put upon the 
white paper at once. 

If the yellow tint is used, let it become quite dry and then 
wash it over with a large brush and clean water ; then, as in 
the flower painting, soak up the water with blotting-paper ; 
the blotting-paper must also be quite clean. While the paper is 
damp, not wet, begin with a blue tint — a light wash of cobalt 
will give it — and put in the sky in a flat tint ; bring the same 
color down all over your sketch except in the high lights. The 
blue tint gives atmosphere and distance. Let your paper again 
become quite dry, and then wash it over as before, in clear water. 

The process of laying on color and lightly washing over it 
afterward should be repeated several times, '* and the result 
will be a transparent aerial tone." 

Keep your extreme distance bluish, your middle distance 
warmer in tone, but not too strong, and the principal objects in 
your foreground strong. 

Leave out small objects, and with light and shade seek to 
obtain the effect. 
♦ Keep your colors pure or your sketch will be dull. 

Contrast has much to do in producing strength and character. 



How to Paint in Water- Colors. 243 

Phillips says that, '* in aiming at opposition of color, we must 
select that which gives force to the foreground, and conse- 
quently communicates the appearance of air in the distance. 
Thus, if the general tone of the light be warm and yellow, we 
should have blues and purples in the foreground ; if the lights 
be cool, reds and yellows in the foreground give atmosphere to 
distance, as neither of these colors in a positive state is found 
in the middle or remote distance." 

The three principal contrasts are blue opposed to orange, 
red to green, and yellow to purple ; and ** a good first lesson in 
sketching in color will be to put in your shadows with color op- 
posite to the object in light ; and by carrying out this principle 
of opposition throughout the scale you will obtain an endless 
variety of contrasts." It is the general rule in most painting 
to have cool shadows to warm lights, and warm shadows to cool 
lights. We all know that 2, green picture is very disagreeable, 
and although a green field is green, it must not be made in- 
tensely so. An untrained eye will not see how nature tones 
down the vivid color with shadows, and softens it with the at- 
mosphere ; but when the eye has learned to look at nature in 
the right way this difficulty will be overcome. Howard says, 
'* green must be sparingly used, even in landscapes, whose 
greatest charm consists of vegetation." 

Foliage in some form will present itself in almost every 
landscape, and it is therefore necessary to have a few general 
principles to guide you in this important feature. In sketch- 
ing trees be sure to get the character of their trunks, limbs, 
branches, and general form ; also the texture of the bark, rough 
or smooth. You will see that the foliage appears in layers, one 
above another. Sketch in the outlines of the principal layers, 
where they are tipped with light ; then go over the whole tree 
with a local color, and afterward separate the light from 
shadow. Each mass is edged with light, while its base is in 



244 Autumn. 



shadow, as a rule. Omit details^ and keep to your masses of 
light and shade. If your tree is in the foreground, leave the 
white paper for crisp touches of high light. The tone of your 
fence will probably be gray, but do not take it for granted that 
it is all gray ; look for other colors, and you will find brown, 
blue, green, and sometimes red. Put these in as you see them, 
letting the edges melt into each other, as they will do when 
the paper is damp ; but have each color pure, and do not try to 
mix them. 

Painting from Notes 

is not as difficult as one might imagine. With a little practice 
it is easily learned. The following directions will tell how to 
paint a sunset on the meadows, from notes made at sunset on 
the meadows on Long Island. 

Take a piece of Whatman's rough drawing-paper, or a kind 
that is termed egg-shell cartoon, the size decided upon for your 
picture. Have ready a large dish of clean water, brushes, and 
paints. Draw a pencil-line along the centre of your paper for 
your horizon, Fig. 151 ; then directly on the line paint a streak 
of vermilion. Put the color on quite damp, and make it about 
half an inch broad, extending one- fourth of an inch on either 
side of the horizon-line. Fig. 152. Next, quickly paint a yellow- 
streak above and below the red one, making each streak of the 
same size and parallel, and leaving a little white paper between 
the different colors. Fig. 153. With a clean brush dipped in 
clean water carefully moisten the paper between the streaks, 
and allow the edges of the colors to mingle. Fig. 154. Before 
this has time to dry, paint a blue streak above and below, 
about half an inch from the yellow, Fig. 155 ; then with the 
clean brush dampen the white paper between, being careful not 
to get it too wet ; there should be just enough moisture to en- 
able the colors to flow and mingle at the edges, Fig. 1 56. This 



How to Paint in IVater-Colors. 



245 



may be aided by holding the paper first one side up and then 
the other, until the edges are evenly blended. Now, before 
the horizon is quite dry, while it is still damp enough to cause 



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How to Paint a Sunset in Water- Colors. 



the paint to spread, fill a brush with Payne's gray, which should 
be rather dark and not too wet, touch the point of your brush 
here and there along the horizon, now a little above and now a 



246 



Autumn, 




little below, and you will find that the paint will spread and make 

excellent 
trees for the 
distance, Fig. 

157. 

When 
your work is 
dry enough 
to paint over 
w i t h o u t 
spreading the 
color, mix 
some green 
and black, 
Ft'£f^JJ^ and green 

and brown; paint in the meadow, using the color made of green 

and black for the extreme and middle distance, the color made 

of green and 

brown for the 

foreground, 

leavingspaces 

for streams 

and ponds, 

and your sun- 
set upon the 

meadow is 

finished. A 

pretty little 

sketch it is, 

too. Fig. 158. 

A differ- ^-^^^ 

Leaf from an Artist's Note-Book. 

ent composi- 
tion can be made by proceeding as directed as far as Fig. 156, 




How to Paint in Water-Colors. 



247 



and then, instead of putting in trees on the horizon, hills run- 
ning to points in the water can be painted in a flat tint with 
the Payne's gray, and a vessel with masts painted in the fore- 
ground, as in Fig. 159. This also makes a pretty and effective 
little sketch. 

Fig. 160 shows sunset notes taken while aboard a ferryboat 
in the winter of 1886-87. From these you can see just how the 
notes are made ; but you must make four own notes, because 
what is perfectly intelligible to the writer of the sunset memo- 
randa is an enigma to another person. For example, in Fig. 
160, " Rose-tinted sky" may mean almost any shade of red, or 
blue and red mixed, but ** Rose-tinted sky" no doubt brings 
before the mind's eye of the writer of the notes the exact color 
of the sky at the time the notes were made. 





A Study in Oil. 




CHAPTER XXIII. 

HOW TO PAINT IN OIL-COLORS. 

'HE difference between oil- and water-color 
painting lies in the fact that, although espe- 
cially well adapted to the portrayal of some 
subjects, water-color has its limitations, 
while with oil-colors any subject, from the 
simplest study in still-life to the grandest 

conception of a great artist, can be represented, and no limit 

has yet been reached in its possibilities. 

But there are first steps to be taken in all things, and the 

greatest artist who ever lived had to make a beginning and learn 

the preliminaries of painting before he could produce a picture. 

To these steps, then, we will turn our attention, and the first 

will be the necessary 

Materials. 

The following list of colors, with their combinations, will be 
found sufficient for most purposes. 



YELLOWS. 
Yellow Ochre, 
Naples Yellow, 
Light Cadmium, 



REDS. 

Vermilion, 
Light Red, 
Indian Red, 



BLUES. 



Orange Cadmium. Venetian Red, 



Permanent Blue, 
Cobalt, 
Antwerp Blue. 



GREENS. 

Terre Verte, 
Emerald Green, 
Light Zinnober 
Green. 



Burnt Sienna, Rose Madder. 

.Silver White, Raw Umber, Vandyke Brown, Ivory Black. 



250 Autumn. 



Winsor & Newton's colors are acknowledged by most ar- 
tists to be the best, but the writer personally prefers German 
white, as in her opinion it is not so stiff, and mixes better with 
other colors than the Winsor & Newton. 

The Easel 

may be simply a pine one, which can be purchased from any 
dealer at the cost of about one dollar. More elaborate easels 
are, of course, more expensive ; but as the merits of a picture do 
not depend upon the easel which holds it, a common pine one 
will do. 

The Palette 

should be light in weight and not too small ; oiled and not var- 
nished. A very Hght-colored wood is not desirable ; one of 
walnut or cedar, about eighteen inches long, is the best to use, 
and will cost from thirty to sixty cents. 

Brushes, 

both of sable and bristles, are used, but we would advise a be- 
ginner to work with bristle brushes only, for the first attempt 
should be to obtain a broad style of painting, without the 
finished details which the sable brushes are used for. 

About four different sizes of fiat bristle brushes are needed 
to commence with ; there should be two of each size, the larg- 
est one inch wide, and the smallest not more than a quarter of 
an inch in width. 

The Palette- Knife 

is used for taking up color on the palette, for cleaning the pal- 
ette, and sometimes for scraping a picture after its first painting. 



How to Paint in Oil- Colors. 251 

It should be flexible, but not too limber. The cost will be from 
twenty-five cents upward. 

Oil-Cups 

are fastened on to the palette, and are used for oil and turpen- 
tine. The double ones range in price from eight cents to 
twenty. The single ones, without cover, can be bought for 
five cents. 

A Paint-Box 

for holding colors, palette, and brushes will cost from one dollar 
and twenty-five cents up. It is convenient to have one, and 
necessary when going out sketching, but for painting at home 
any kind of tin box will answer for the paints. The palette can 
be hung up, and the brushes put in a vase or jar, handles down- 
ward, which will keep them nicely. 

Mediums. 

Boiled linseed-oil or poppy-oil, siccatif Courtray, and tur- 
pentine. 

Canvas. 

In selecting canvas choose that of a warm-gray or creamy tone, 
for it is difficult to give warmth to a picture painted on a cold- 
gray canvas. The German sketching-canvas is quite cheap, 
and does very well to commence on. It is best to buy it on the 
stretcher, as a girl's fingers are seldom strong enough to stretch 
the canvas as tight as it should be. A very good sketching-can- 
vas, 18x24, can be bought in New York City for twenty-five 
cents. 

Several clean pieces of old white cotton-cloth are necessary 
for wiping brushes, cleaning knife and palette, etc. 



252 Autumn, 



The Light 

in the studio, or room in which you paint, should come from one 
direction only, and fall from above. This can be managed 
by covering the lower sash of the window with dark muslin, or 
anything that will shut out the light. A shawl will answer for a 
temporary curtain. 

Most artists prefer that while painting the light should 
come from behind over the left shoulder. 

Our advice to beginners in all the departments of art is the 
same : commence with simple subjects. 

Your first study should be from still-life (which means any in- 
animate object used for artistic study), and let the object selected 
be of a shape that requires but little drawing ; for your aim now 
is to learn to handle your colors, and it is not desirable to have 
your mind distracted by complicated drawing. A vase placed 
on a piece of drapery, which is also brought up to form the 
background, is a good subject ; the drapery should be of one 
color, and of a tone that will contrast agreeably with the vase 
and give it prominence. 

Arrange whatever object you have decided to paint so that 
it will show decided masses of light and shade ; place your easel 
at a sufficient distance from it to obtain the general effect of 
shape and color without seeing too much detail ; arrange your 
canvas on the easel so that you will neither have to look up 
nor down upon it, but straight before you ; then sketch in the 
object you are about to copy in outline. Observe the edges of 
the heaviest shadows, and draw them also in outline. Char- 
coal is better than a pencil for sketching on canvas, as it can 
be easily rubbed off with a clean cloth if the drawing is incor- 
rect. When the sketch is finished, dust off the charcoal lightly 
and go over the lines again with a camel's-hair brush and India 
ink. 



How to Paint in Oil- Colors. 



253 



Setting the Palette 

is a term used for arranging the colors in a convenient man- 
ner upon the palette. The colors should always occupy the 
same position, so that, the places once learned, you will never 
be at a loss to find the color you want. Fig. 161 shows a con- 



r\ 



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'"*>.. °'*:^ 



A'^ 



'^* 






'*^.>. "- 






Fig. 161. — Manner of Arranging Colors on Palette. 

> venient arrangement of colors, as well as 

the position of the oil-cans. 
Fill one of your oil-cans one-third full of turpentine, to which 
add enough siccatif Courtray to turn it the color of strong 
coffee. Dip one of your good-sized brushes in this mixture and 
scrape it off on the edge of the can, that the brush may not be 
too wet ; then take up some burnt sienna on the brush and put 
it on your palette about an inch or so below the terre verte, 
add some terre verte, and mix the two with your brush. Lay 
in all the shadows of the vase, or whatever object you are about 



254 AutMnin. 

to paint, in a flat, even tone with the color thus formed, keep- 
ing it thin with the turpentine and siccatif. 

Mix a tint as near the required color as you can, and go 
over the whole background without regard to light or shade ; 
cover all the background ; do not leave any white or bare can- 
vas showing. 

The general effect being thus obtained, it is easier to see 
what colors are needed for further painting. 

Select a medium tint between the high lights and half-tones, 
and paint in the lights of the vase in a flat, even tint ; then go 
over the shadows again with a medium tone, still keeping them 
in one flat, even mass. Should you lose the outhne at any 
time, dip a rag in turpentine and wash off the paint that cov- 
ers it. 

Having progressed this far, the painting should be left to 
dry. 

The turpentine and siccatif Courtray have such drying prop- 
erties that by the next day you may work again on the study. 

Begin the second painting by putting in the half-tints. These 
unite the decided light and shade, and should be dragged over 
their edges, but not blended with them. Once more go over 
the shadows, strengthening them and putting in the reflected 
lights. 

Add more color in the lights where it is needed, and put in 
the high Hghts with clear, crisp touches. Work on your back- 
ground in this second painting. Indicate the shadows, but do 
not make them strong, except the one which will probably be 
cast by the object ; that can be strengthened, as it helps to set 
the object out from the background and gives the idea of space. 
Do not make the background strong ; keep it toned down, that 
it may not become too prominent. Drag the background a lit- 
tle over the edges of the vase, or whatever it may be you are 
painting, and then paint over it again with the colors of the 



How to Paint in Oil- Colors. 255 

vase. Do this while working around the edges of the vase, or 
object, to prevent its looking flat, as if it were pasted on. 

These directions are to be applied to painting any subject ; 
but after you have learned how to manage the colors and wish 
to really paint a picture, the medium must be changed from tur- 
pentine and siccatif Courtray to oil, either linseed or poppy, 
using the turpentine only for the first effect of shadow. 

When oil is used it will require two or three days for the 
picture to dry. Many advise the use of but little oil, and there 
are artists who dissapprove of any medium at all. 

Before commencing the second painting, a coating of poppy- 
oil should be put all over the canvas with a large, flat camel's- 
hair brush. Every bit should be covered without touching the 
brush twice to the same spot. This softens the first coat of 
paint sufficiently to allow of its blending with the next. If a 
raw potato be cut in half and rubbed over the painting before 
the oil is put on, it will prevent the oil from crawling, or sepa- 
rating into drops on the canvas. 

Do not use the same brushes for dark and light tints, but 
keep them separate. Mix your tints on your palette, the dark 
tint below the dark colors, and the light tint below the light colors. 

In putting away your work after painting, be sure that the 
tops are screwed on to all your color-tubes, and arrange them 
neatly in their box. Clean your palette with the palette-knife, 
and then wipe it ofT with a rag. Dip your brushes, one by one, 
in turpentine and wipe them on a rag ; this removes most of 
the paint and makes them easier to wash. Warm, not hot, 
water should be used for washing the brushes. The best way 
is to hold several brushes in the right hand, their sticks being 
in an upright position, dip them in the water, rub them on a 
piece of common soap, and then scrub them round and round 
on the palm of the left hand ; rinse them in clear water, and 
wipe dry with a clean rag. 
17 



256 



Autumn. 



Our limited space will not allow of our going more fully into 
the details of painting ; but we hope that these directions will 
give some idea of how to make a beginning as a painter in oil- 
colors, and after you have made a start you will find two good 
professors at your elbow to help you along and encourage you 
— Prof. Judgment and Prof. Experience. 





CHAPTER XXIV. 

HOW TO MODEL IN CLAY AND WAX. 

'N eminent artist once remarked within the writ- 
er's hearing that, should he bring into his 
studio the first dozen boys he happened to 
meet on the street, taking them as they 
came, he would probably be able to teach 
at least half of them to model within six 
months, whereas there might not be one 
of them who could be taught to paint at all. Possibly none of 
these' boys would ever become great sculptors, but they could 
learn to model moderately well. If that is the case with boys, 
who are apt to be so awkward and clumsy, how quickly could 
a girl's deft fingers learn to mould and form the plastic clay or 
wax into life-like forms. In some of the institutions for the 
blind, deaf and dumb, modelling is taught with great success. 
Quickly the sensitive fingers of the young inmates run over the 
object to be copied, and skilfully they reproduce in their clay 
the form conveyed to them by touch alone. It is pleasant to 
think that these silent little workers have this new pleasure 
added to their somewhat limited stock ; but at the same time 
the fact puts to shame some of us who, having all our faculties, 
the use of all our senses, and not infrequently artistic ability 
in addition, do so little with the talents intrusted to our care. 

Let us to work then, girls, and see if we cannot accomplish 
at least as much as our unfortunate sisters, who have neither 
sight nor hearing to guide them. 




Modelling in Clay. 



How to Model in Clay and JVax. 2^g 

The great difficulty we encounter in learning to draw — which 
is representing things as they appear, not as they really are — 
will not trouble us in this other department of art, for in model- 
ling it must be our aim to do precisely the reverse, and repro- 
duce an object exactly as it iSy not as it appears. 

Modelling, besides its own worth, is of value as an aid to 
drawing, for it teaches form, and the shadows on an object can 
be drawn more intelligently and correctly when it is known just 
what formations produce them. 

A great deal can be done in modelling without the aid of a 
teacher. So, not waiting to look up a professor, suppose we 
commence by ourselves and see what we can do. It is very fas- 
cinating work, and if a few failures are the result of our first at- 
tempt, we need not be discouraged, for what others can do, we 
also can accomplish. 

The writer has lately been initiated into the mysteries of this 
art, and since, as they say, the person just graduated from a 
primary department is best fitted to teach in that department, 
perhaps the hints given here may be better suited to the under- 
standing of beginners than if they were written by a great 
sculptor, who might forget that everyone does not know, as 
well as he does himself, the preliminary steps necessary even in 
accomplishing the grandest results. 

Instead of entering into the later and more artistically finished 
processes we will confine ourselves to the prelude or introduc- 
tion to modelling ; and then, girls, with the object before you, 
your only guide and instructor, you must work out the rest for 
yourselves. 

The first thing to do is to provide your 

Materials, 

and here is a list of all you will need : 

I. Clay, such as is used by potters, perfectly free from grit. 



26o 



AMtumn, 




2. Modelling-tools. These can be bought at any artists' 

material store, and the simplest ones might be made at home 
of hard wood. Only a few tools are nec- 
essary for a beginner ; Fig. 162 shows 
those most useful. The fingers and thumbs 
are the best of all tools, and a great deal 
can be done with them, though for fine, 
delicate modelling tools must be used. 

3. Modelling-stand. A regular mod- 
elling-stand with rotary platform will cost 
from eight to twelve dollars and the ex- 
pense may be an objection ; but the writer 
has found that an ordinary high ofiice- 
stool with revolving seat makes a good 
substitute. If the stool is not high enough 
it can be raised by placing on the seat a 
drawing- or pastry-board, and on top of 
that a square wooden box about one foot 

high and broad enough to allow sufficient room for a good-sized 

head and bust. 

4. Basin of water and towel for washing and drying the 

hands. 

How to Manage Clay. 

Clay costs, near New York, from one to three cents per 
pound, and about fifty pounds will be required. If possible buy 
it moist, but if dry, put it into an earthenware jar, or anything 
that will hold water, and cover with clear water. Let it remain 
until thoroughly moistened ; then with a stick stir the clay 
around as, when a small girl, you did the miid while making 
mud-pies, until it is free from lumps and is perfectly smooth ; 
clear away from the sides of the jar and pile it up in the cen- 
tre. 



Modelling Tools 



How to Model in Clay and Wax. 261 




/ic/,m 



When it is dry enough not to be muddy and is still pliable, 
it is in a fit condition to work with. It is necessary to keep 
your hands perfectly clean and conveni- 
ences for washing them should be handy. 
Do not use muddy water or a dusty 
towel. 

Use any tools that will produce the 
result desired with the greatest ease ; a 
little experience will soon determine 
what they are, but as a rule the largest 
are best. 

When leaving unfinished work cover 
it with a damp cloth to keep it moist. 
If you are working on a head, and the features have been com- 
menced, stick a small wooden tool in the head just above the 
forehead to hold the cloth away from the face, for it is liable to 
soften the nose and push it out of shape if it rests upon it. 

A frame made of laths (Fig. 163) covered with oil-cloth or 
rubber (an old gossamer water-proof will be just the thing), 
placed over the modelling, will keep it better than the cloth, as 
it excludes the air and prevents its dry- 
ing (Fig. 164). When using the frame, 
sprinkle your work by dipping a clean 
whisk-broom into water and shaking it 
over the clay. Remember, the clay 
must always be kept moist and pliable 
and never allowed to dry. If it does 
become dry and hard there is nothing to 
do but to put it back into the jar, and go 
through the process of damping it again. 
Keep your tools clean, and do not 
allow the metal ones to become rusty, as they will if carelessly 
left pn the modelling-stand when not in use. To avoid trouble 




Nc/.m 



262 



Autumn. 



of this kind it is best to put your tools in a box where they 
will be perfectly dry. Unless you wish to go through one of 
the writer's first experiences, when she was obliged to let her 
tools lie in a pan of kerosene oil for two days, and then clean 
them with knife-brick. 

How to Preserve Modelled Clay. 

If terra-cotta clay is used, it can be baked in a kiln, which 
will, while hardening, turn it a fine buff terra-cotta color, and 
make the object, if well modelled, ornamental enough for almost 
any use. 

From the other clay, plaster casts can be taken, and the ar- 
ticle reproduced in plaster as many times as desired. 

Hints for Modelling a Head. 

Always work from a model, and it is best to try copying 
plaster casts before attempting to model from life. 

Place on the centre of your stand a wooden or tin box (a 






/if.Mj 



FN/./66 
How to Model a Head. 



/7siM7 



cigar-box will do) to form the base ; cover this with clay in the 
form of Fig. 165, and stick a support in the middle, as shown in 



How to Model in Clay and IVax. 263, 

diagram. The support may be a piece of kindling-wood eight 
inches long and about one inch thick. 

Build up the clay around this stick, as in Fig. i66, and with 
your hands mould the clay, piecing it out here, and cutting off 
there, until it bears some resemblance to a head, as in Fig. 167. 

Still using your hands, get the general proportions of the 
head, and then commence the features. Begin with the profile,, 
using tools when necessary, and try for character without de- 
tail ; then turn the head a little and work from that point of 
view ; always look at your model from the same point of view 
as you do your work. Turn the head in the opposite direction 
and model the other side, keeping the face evenly balanced. 
Continue turning your work little by little, until each outline it 
presents is as near as you can get like the corresponding out^ 
line of your model, and then work up the detail. 

In modelling any object the same process, of viewing the 
model from all points, must be gone through with. 

Do not strive to obtain a likeness at first, but be careful to* 
have all of your outlines correct, and the likeness will come of 
itself. 

How to Model in "Wax. 

Modelling-wax prepared at home is much better than any 
that can be purchased. The following recipe is a very good 
one : 

Modelling-wax. 

I pound pure yellow beeswax. , ' 

y^ pound corn-starch. 

4 ounces Venice turpentine. 

13^ ounce Venetian red powder. 

^ ounce sweet-oil. 

Put the wax on the stove in a saucepan and let it melt ; take 



264 



AutMrnn. 



off diud pour in the turpentine. Never attempt to add this while 
the wax is near the fire, as it is extremely dangerous. It is 

a good idea, when buying 
the ingredients, to have the 
oil and turpentine put in the 
same bottle (which should 
have a wide neck), then they 
can be poured into the wax 
at the same time. Warm 
the bottle of oil and turpen- 
tine in hot water to soften 
before mixing with the wax. 
Keep stirring all the time. 
Pour in the corn-starch and 
Venetian red. When the 
corn-starch is dissolved the 
wax is ready for use. 

Modelling-wax is much 
more expensive than clay; it 
is used principally for small 
objects and those that re- 
quire fine workmanship. It 
is quite useful for sketchy 
work, as it may be carried 
about almost like a sketch- 
book, and being so much 
cleaner than clay, it can be 
used even in the parlor with- 
out damage to table or car- 
pet. With the wax on a small 
board one can sit at a table 
and work very comfortably. The tools for clay modelling may 
also be used for wax ; probably the smallest will be most useful. 




Bas-relief Figure m Wax. 



How to Model in Clay and Wax. 265 



As cold weather advances, we like to pass the evenings in 
some agreeable occupation, that may be carried on without dis- 
turbing the family 



group around the 
fireside. For such 
occasions, modelling 
in wax will make a 
pleasant pastime. 
Sitting quietly, tak- 
ing part in the gen- 
eral conversation, or 
listening while some- 
one reads aloud, one 
may model the wax 
into many pretty 
forms to be preserved 
afterward in plaster, 
or, obtaining a pro- 
file view, a likeness 
of one of the group may be done in bas-relief. If a slate is 
used to work on, it will make a good foundation, and the head 
can first be drawn on it in outline and the wax built over it, 
using the drawing as a guide. The slate is smooth and firm, 
and it is a good idea to use it as a foundation for all wax bas- 
relief, especially when plaster casts are to be taken from the 
modelling, for in that case the panel forming the background 
must be perfectly even. 



;>-^ 




Bas-relief Head in Wax. 





CHAPTER XXV. 

HOW TO MAKE PLASTER CASTS. 

T is not at all difficult ; anyone can succeed in it who 
will take the pains to follow carefully the directions 
given here for making plaster casts. Without the 
knowledge of drawing or modelling you can in this 
way reproduce almost any article in a very short time. 
Casting in plaster is really so simple a process 
that even a child can soon learn to manage it nicely. 
You will need a board, about a foot and a half 
square, upon which to work, fifteen or twenty pounds of clay, 
five pounds of plaster-of-Paris, a cup of warm melted lard, and 
several small wooden pegs ; these can be made of wooden 
tooth-picks or matches broken in two. 

Select an object with few angles and a smooth surface to ex- 
periment on ; a firm round apple will do. Rub the lard all 
over the apple until every particle is greased ; then lay it in 
the centre of your board. Take some clay and pack it around 
it just as high as the middle of the apple, forming a square, as in 
Fig. i68. Smooth the clay off on the edges and stick pegs in 
diagonal opposite corners (Fig. i68) ; then with more clay build 
a wall close around the apple and its case, making the sides one 
inch higher than the top of the apple (Fig. 169). Put a cupful 
of clear water into a pan or dish, and stir in enough plaster of 
Paris to make it like batter ; pour the plaster over the apple, 
filling the clay box to the top. This makes a half mould of 



268 



Autumn. 




clay and a half mould of 
plaster. 

When the plaster is 
hard, which will be in a 
very short time, pull 
away your clay wall, and 
take out the apple and 
half plaster mould to- 
gether, lifting the apple 
from its half clay mould. 
Remove the clay from 
your board and set the 
plaster mould containing 
Fic;J69 ^^ apple in the centre. 
Rub lard over the apple 
and upper edge of the 
mould, build around it 



/y^j7o 



the clay wall, as you did the first time ; roll a small piece of 
clay into a slender conical shape and stand it upright on top of 



How to Make Plaster Casts. 269 

the apple, as in Fig. 169. This will make a hole through which 
to pour the plaster when filling the completed mould, and it 
must stand high enough to reach above the top of the clay 
wall. 

Pour the plaster over the apple as at first, and let it set or 
harden. Take away the wall of clay once more, and carefully 
separate the two parts of the mould with the blade of a table- 
knife ; remove the apple, and all is ready for the final cast which 
is to prodiice your plaster fruit (Fig. 170). 

Thoroughly grease the inside of your mould, fit the two 
parts together, and wrap and tie them with string to hold them 
in place. 

Pour in the plaster, through the hole left in one-half of the 
mould, until it is quite full ; then gently shake it to send the 
plaster into all small crevices. 

Let your mould stand without moving again until sufficient 
time has elapsed for the plaster to harden ; then gently sepa- 
rate the two parts and you will find a perfect cast of the 
apple. 

The ridge made by the joining of the mould you must 
scrape off with a sharp knife, or rub with sand-paper. 

In taking casts of almost any object not too complicated, 
this same method must be employed. The only difficulty Hes 
in deciding just where to place the dividing-line, which must 
be exactly at the broadest part of your model, otherwise you 
will break your mould in taking the object out. 

In casting a hand the clay must be built up around each 
finger to precisely its widest part ; therefore it is a good plan, be- 
fore commencing, to mark on the hand, with a fine paint-brush 
and ink, the line that is to be observed. 

When making casts of long objects, or those that are larger 
at one end than the other, such as vases,, always lay them on 
one side, as a much better mould can be obtained in that way. 



270 



AutMinn. 



I have read that if milk-and-water is used for mixing the 
plaster, or, after the cast has hardened, if a little oil, in which 
wax has been dissolved, be applied to the surface, it will take 
a high polish ; and if left for a while in a smoky room it will 
acquire the look of old ivory. 

The same writer also states, without giving the proportions, 
that liquid gum-arabic and sufficient alum in solution, mixed and 
put into the slip or soft plaster, will make the cast so hard that 
it can be set as a panel in a cabinet. 

The dead white of plaster-casts is frequently objected to 

when they are wanted for ornaments ; but that difficulty is 

• easily overcome by mixing dry 

colors with the plaster before 

wetting it. 

A small quantity of yellow 
ochre will make the plaster 
creamy or ivory-like ; brown will 
give a wood color, and red a 
terra-cotta. 

Plaster-casts can also be 

bronzed with gold, red, or green 

bronze, which makes quite hand- 

A plaster panel in bass-rehef, 

and mounted on black or dark- 




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' "^'-•■/ | lll l| l"''f'>vni'J/^i;«"Jli!iyVV'."V/'.-»>/-^-^# 
((, % ■■ ■ 






some ornaments of them, 
bronzed with gold bronze 
colored velvet, is an exceedingly rich wall decoration. 

To mount a panel of this kind you must first secure a smooth, 
flat piece of board, not more than half an inch thick, and just 
large enough to allow about four inches of the background to 
show all around the panel when it is mounted. Cover the board 
with velvet or velveteen, bringing it smoothly over the edges, 
and tacking it down at the back. Fasten on it a small brass 
hook. Fig. 171 is the best kind to use, which is tacked to the 
board with small, brass tacks. 



How to Make Plaster Casts. 



271 



Make a ring or loop for hanging the panel in this way : 
Take a piece of wire about three inches long, form a small 

loop in the middle, and give the wire several twists ; then bend 

the ends out on each side. 

Scrape a narrow place in the top edge of the panel, just 

long enough to admit the wire, and about half an inch deep ; 

then place the wire in this little ditch and fill up the hole to the 

top with soft plaster. When this hardens the ring will be quite 

secure. Fig. 172. 





CHAPTER XXVI. 

CHINA PAINTING. 

ERTAINLY you can paint on china ; have 
confidence, and do not hesitate because you 
may never have studied art, but select the 
(:.r>, '^^t'-'iw^s^w china you wish to decorate ctnd we will go 
ti^PiBfe--^ to work. First, take what is needed for 

present use from the following 

List of Materials. 

PALETTE. 

A common square, white china tile is the best palette for 
mineral colors ; but in case you have no tile, an old white plate 
will answer the purpose. 

BRUSHES. 

These are of camel's-hair. Figs. 173 and 174, are broad and 
flat, and are used in placing the color on the china when the sur- 
face is to be tinted. Fig. 175 is for blending the color after it is 
on the china ; it is called a blender, and is useful where bor-ders 
and surfaces are to be tinted. Figs. 176 and 178 are for gen- 
eral use. Fig. 177, with its long, slender point, is for gilding, 
another similar brush is needed for India-ink. Mark the two 
brushes in some way to distinguish them one from the other, 
and never use either for any paint except that for which it is 



China Painting. 



273 



intended. Fig. 179 is a stipple for blending the colors when 
painting a face, a fish, the sky of a landscape, or wherever 
delicate, fine blending is needed. 

To clean the brushes after using : dip them in turpentine 
and wipe off the paint on a cotton cloth, repeating the opera- 
tion until the brushes are perfectly clean ; then dip them in fat 
oil, and bring them out smooth to a fine point. Do not allow 
the brushes to become bent over, if the box is not long enough 





Fis.nS FU/.174- Ficf.nS F^JFS F^.m %r./rs Fis^./ZSf 

Brushes for China Painting (about one-half actual size). 

for them to lie out straight, remove the quills from the wooden 
handles and they can easily be replaced when needed. Should 
the brushes seem a little stiff at the next painting, immerse 
them in turpentine ; this will make them soft and pliable. 

To save the expensive gold paint, the gilder should be kept 
exclusively for gilding, and need not be cleaned, as it will not 
be injured if the hairs are carefully straightened out and the 
brush put away with the gold. 

KNIVES. 
Fig. 180 is a horn palette-knife for mixing Lacroix white, 
the yellows, and all such colors as are injured by contact with 



274 



Autumn, 



metal. It is the only knife used with the mat paints for Royal 
Worcester decoration. Fig. i8i is a steel palette-knife for gen- 
eral use. Fig. 182 is a steel scraper 
for removing paint from the china 
when necessary. Always clean the 
knives after mixing one color, be- 
fore using them for another. 

PAD. 

This is made of a ball of cotton 
tied in a piece of soft lining-silk, 
fine linen, or cotton-cloth (Fig. 183) 
and is used for tinting. 

THE PAINTS 

are Lacroix's colors ; they come in 

tubes and should be squeezed out on 

the palette and used as in oil paint- 

nsr.m Jjy./ui /^./a£> . ^j^j^ a Httle turpentine and fat 

Horn Palette- Steel Palette- Steel ., , , . , fl . , 

knife. knife. Scraper, oil whcU dcSircd. To mOlStCn the 

(Reduced sizes.) i ■,•-, 

colors while 
painting dip your brush, carefully, with- 
out shaking or moving it around, into the 
turpentine or oil, and then in the color. 
Allow the paint to lie on the palette as it 
comes from the tube, except when two 
colors are mixed, or when using the stip- 
ple for blending one tint with another, or 
when tinting, then the paint must be mixed 
and rubbed down with oil and turpentine. 
Keep the colors in a cool place, and when 
returning them to the box, after you have finished painting, do 
not lay them back on the same side. Always remember to 



F^.18lFY^,J8t 




Printer's Pad. 



China Painting, 275 



turn them over so that the color will not separate from the oil. 
If you are careful and follow these hints, your colors will keep 
in a good condition. We would advise you to purchase the 
paints as they are needed, thereby avoiding all unnecessary 
expenditure. 

OILS. 

Fat oil is for general use in painting. Clove oil is used in 
its place when two or more tints are to be blended together, as 
in painting a face, etc. Capavia oil is always mixed with the 
colors for grounding. 

TURPENTINE 

is in constant demand in china painting. It is used with all the 
different oils, paints, bronzes, and gilt, and should be poured in 
a small cup or any little vessel, and kept convenient while paint- 
ing. 

TAR PASTE 

comes in bottles, and is used to take the color off of tinted back- 
grounds, in order to leave a clean surface of the china in which 
to paint the design in different colors. The paste should be 
rubbed down smooth on the tile with the palette-knife ; if it is 
too hard, a little tar oil may be added. A small brush is best 
to use for the paste in covering the design you wish to wash 
out ; but be very careful to keep within the outlines, for this 
mixture will take off the color wherever it touches. When the 
tint is light the paste may be wiped off in a few moments ; but 
when it is dark, the paste must be allowed to remain on for 
perhaps hours before the paint will be sufficiently softened to 
remove. 

Use small balls of raw cotton-batting in wiping off the paste, 
and take a fresh piece for every stroke. If any of the tar paste 
is left on the tile after using, scrape it off with your palette- 
knife, and return it to the bottle. 



2.76 Autumn. 



MAT GOLD 

is for gilding, and can be either burnished or highly polished. 
It comes on a little square of glass inclosed in a box. This 
gold can also be used as solid ornamentation or for delicate 
tracery, and is sometimes used over colors, greens except- 
ed, but is then never so bright as when on the plain white 
china. 

The gold is prepared for painting on a tile kept expressly for 
the purpose, and which must not be used for any other paint. 
Place some of the gold on the palette with your palette-knife, 
and mix a little turpentine with it by dipping your palette- 
knife in the turpentine and rubbing down the gold with the 
turpentine on the knife. If more is needed, again dip your knife 
in the liquid, and do so as often as it is necessary ; but you must 
use the utmost care not to have the gold too thin ; gild with it 
as stiff as it can be smoothly applied. 

Should any gold remain on the palette after the gilding is 
finished, mix in a little turpentine and scrape it all up with 
your palette-knife, then replace the gold on the square of 
glass. 

Silver is used the same as gold. 

The bronzes are for handles and conventional flowers or 
figures ; they are rich and pleasing in effect. 

PURE GOLD 

cannot be employed for gilding plain white china. It also 
comes on a little square of glass and is used for gilding over 
colors. It can be applied over any mineral paint or relief, and 
may be polished or burnished as desired. 

This gold is mixed with turpentine, for use in the same man- 
ner as mat gold. 



China Painting. ttj^ 



RELIEF. 

The best is mat relief, which comes in a powder, and is used 
for both tube and mat colors. It is prepared by mixing with a 
very little fat oil and turpentine, and should be applied stiff 
enough to make a raised line. It is useful where a small raised 
surface is desired, as on the edge of a leaf or the petals of 
flowers. A fish-net is much more effective if the gilt be put 
on over the relief. Should the relief dry and become too stiff 
while using, soften it from time to time with a little turpentine, 
always using the horn knife for mixing, as the steel knife should 
never be used with the relief, and the relief must always be 
fired before the gilt is applied. 

Enamel white can be mixed with delicate tints, turpentine, 
and a very little fat oil for raised flowers ; or the* white alone 
may be used for pearls, imitation of lace, or embroidery, but its 
use is limited and it will not stand two firings, so should always 
be the last paint applied. 

MAT COLORS 

are for Royal Worcester decorations. They come in powders, 
and when mixed with a little oil and turpentine are used in the 
same way as the Lacroix tube paints. 

BOX FOR MATERIALS. 

Select a light wooden box, or one of strong pasteboard ; 
have the box of a convenient size to contain all your painting 
materials. 

PIECES OF SOFT, OLD MUSLIN, 

torn in different sizes, and plenty of them, are very essential for 
cleaning brushes and rubbing paint off the tile or china; the 
demand for clean pieces will be constant while painting. 



278 Autumn. 



CHINA. 

Have this of the very finest French ware, without spots or 
other imperfections of the surface, and never attempt to decorate 
china after it has been used, for it seldom proves satisfactory. 

A Monochrome Painting. 

For this we will need a tile, a pad, a broad flat brush (Fig. 
173)5 some turpentine, capavia, two tubes of paint — one copper- 
water green, the other brown green — a palette-knife, and some 
pieces of cotton cloth. Now be sure your china is perfectly 
clean and dry, then mix your copper- water green for 

Tinting. 

Place enough color on your palette to cover the entire sur- 
face to be tinted ; dip your palette-knife in the capavia oil and 
tap it off the knife on the tile ; in the same way place turpentine 
on the tile with the oil, and use your palette-knife to thoroughly 
mix the paint, oil, and turpentine. If the mixture seems too 
stiff add a little more oil and turpentine, but be careful not to 
have the paint too thin so that it will run ; test its consistency 
with a brush on a clean place on the tile. 

As a rule, the proportions for tinting should be five drops 
of paint to three of capavia, mixed with a little turpentine. 

The paint being prepared, take the flat brush and begin to 
paint ; rapidly cover the entire surface with color. Then go 
over the tinting with a pad, touching lightly and gently, not 
letting the pad rest a moment on the paint, nor touching it 
twice in the same place in succession. Continue going over and 
over it until the grounding is even and of a uniform tint. 
Then set the china away to dry, in a safe place, where it will be 



China Painting. ttjc) 



free from dust. Always make a fresh pad every time you tint, 
and a separate one for each color used, as a pad cannot do 
service more than once. 

All tinted grounds and borders are made in this way, the 
capavia oil and turpentine being mixed with any of the ground- 
ing colors you may wish to use. Tinting is very easily and 
quickly done ; but should anything happen to spot or mar 
the evenness of the grounding, the paint must all be washed off 
with turpentine, and the china tinted over again. 

When your green-tinted china is perfectly dry, gather 
some maple leaves and with the brown-green paint try a 

New Method of Decorating China. 

The leaves must be free from dust and moisture and per- 
fectly fresh. Place a small quantity of paint on the palette, do 
not mix the paint with oil or turpentine, but rub it doAvn well 
on the tile as it comes from the tube ; make the paint perfectly 
smooth, now press a small clean pad down lightly, lifting and 
again pressing until the paint is smoothly distributed on the pad ; 
next select a leaf and place it face or right side downward on a 
piece of folded newspaper, then press the pad down on the 
under side of the leaf, which is now lying upward, repeating 
the operation until the leaf is sufficiently covered with paint. 
This done, carefully place the leaf painted side downward on the 
china, over it lay a piece of common wrapping-paper, and rub 
your finger gently all over the covered leaf. Then remove the 
outside paper and very carefully take up the leaf, when an 
exact impress of the natural leaf will be printed on the china. 
Repeat the operation with another leaf either larger or smaller, 
and still another, using as many as you wish ; connect the leaves 
to a central branch by making the stems and branch in the 
same color with a small paint-brush. To do this paint a long line 



28o Autumn. 



for the branch and other smaller ones for the stems of the 
leaves. Set the china away to dry, and it will be ready for 
firing. Very pretty effects may be secured by using two shades 
of one color for the tinting and designs. First tint the china, 
and when it is perfectly dry, ornament it with the same paint in 
the manner described, making the ground of a lighter tint than 
the decorations. The colors of fall leaves can be used on white 
china, or you may make the combinations and designs of what- 
ever is most pleasing. 

It is well to have some idea of what your decoration is to be 
like before commencing with the leaves. If you desire a spray, 
try to place the leaves as they are on the natural spray, or as 
represented in some picture taken for a guide. The prints also 
look well used in a conventional style. As any kind of leaves 
or grasses that will print can be employed, your decorations 
will always be original and true to nature. 

Flowers are more difficult to print, yet when the impressions 
are successful they are very beautiful. 

You will find this new idea an interesting method of orna- 
menting china, while the decorations may be made in much less 
time than is usually required. The style is suitable for dinner- 
sets, vases, tiles, plaques, and lamps, and it requires no knowl- 
edge of drawing or painting to decorate china in this simple yet 
effective manner. 

Tracing. 

Lay a piece of tracing-paper over the design to be copied 
and trace the outlines very carefully with a hard lead-pencil. 
Then have your china perfectly clean and dry, and give it a 
wash all over with a clean cotton cloth wet with clear turpentine. 
Place a piece of red transfer-paper on the china, and having de- 
termined exactly where you wish the design, lay the tracing- 
paper over the transfer-paper on the space for decoration. Use 



China Painting. 281 



bits of gummed paper on the corners of the transfer- and trac- 
ing-paper to hold them in place, and carefully go over the lines 
with a lead-pencil, remove the papers, and the design will be 
clearly outlined on the ware. Now rub a little India-ink on a 
common individual butter-plate of white china, and using a fine 
brush, very carefully paint over the red marks with the India- 
ink, making your lines as distinct and delicate as possible. 
When this is finished, again wash the china with turpentine to 
remove any of the red coloring which may be apparent on its 
surface. Thus prepared the design can be painted, or the china 
may first be tinted and allowed to dry, when the outlines will 
be plainly visible through the tinting, and the color can be re- 
moved from the design with tar paste. Use the scraper to take 
the grounding off of minute spaces. For those skilled in draw- 
ing it will not be necessary to trace the design, as it can readily 
be sketched on the china with a lead-pencil after the ware has 
first received a coat of turpentine, and when tinted the decora- 
tion can be drawn on after the grounding has thoroughly dried, 
and the color may be removed as before. 

Mottled Grounds. 

Prepare the paint as for tinting, only make it more moist, 
and dab it lightly over the china by nieans of a piece of cotton 
cloth on the end of your finger ; this will give the china a mot- 
tied appearance which in some cases is preferred to the plain 
grounding. 

Snow Landscape. 

We will take for example Fig. 184. 

After tracing the design, paint a streak across the sky, just 
back and a little above the trees, with carnation No. i mixed 
with clove oil and turpentine, then another narrow streak above 



282 Autumn, 



it of a lighter shade, and another still lighter of the same color, 
allowing each tint to meet. Next mix light sky-blue with clove 
oil and turpentine, and paint as deep a tint as it will make 
across the sky at the top of the plate, graduating it down to the 




Fl^.tS^ 



red ; use the stipple immediately while the paint is wet to blend 
the colors and tints ; this finished, make the reflections on the 
ice, beginning with carnation No. i for the ice nearest the castle, 
and ending near the bottom of the plate with the deepest shade 
of light sky-blue, using the colors mixed for the sky. Paint the 



China Painting. 283 



foliage in the background with neutral gray and sky-blue mixed 
with turpentine and fat oil for the darker tones, and turquoise- 
blue with neutral gray, turpentine and fat oil for the lighter 
parts, also for shading the darker portions of the snow. Then 
take brown No. 4 as it comes from the tube, with a little tur- 
pentine when necessary, for the shading of the trees in the fore- 
ground, the outlining of the castle, and the tufts of grass and 
edges of the ice in places where the copy requires it. 

Leave the white china for the high lights and the white 
snow on the roof of the castle, on the trees, and here and 
there on the ground. 

Paint the castle with neutral gray and yellow ochre mixed 
with turpentine and fat oil, and its windows with brown No. 
4, using the color as it comes from the tube. Now allow 
the plate to dry and then have it fired, after which mix car- 
nation No. I with clove oil and turpentine, and touch up the 
sky and reflections on the ice, using the stipple if necessary ; 
then mix light sky-blue with clove oil and turpentine and paint 
the sky where that color is required and the light shadows on 
the snow ; then take yellow ochre for portions of the trees, 
places in the foreground, and touching up the castle ; mix this 
color with fat-oil and turpentine. 

Again strengthen the trees and other places, where the paint- 
ing requires it, with hrown No. 4, unmixed, except with a little 
turpentine when necessary ; for the last touches mix relief-white 
with fat oil and clean turpentine, using the horn-palette knife 
always when mixing the white ; this is to be laid on, in little 
raised places, where the snow is whitest on the ground and 
where the snow has lodged in the trees. 

Now inclose the snow scene with a gilt band, using the 
stipple to make an uneven edge of gilt on the surrounding 
white rim ; the gold next to the picture must be perfectly 
smooth and even ; put this on with your fine long-haired brush ; 



284 



AMtumn. 



then make a similar band on the edge of the plate and it will 
be finished and ready for its last firing. 

Almost any snow landscape with a sunset sky may be 
painted in this way. 

Often you can find Christmas cards which will furnish very 
good copies. 



B 




How to Paint a Head on China. 

Select a pretty copy from some photograph, as in Fig. 
185 ; very carefully trace the head on a plate and go over the 
lines with Indian ink ; next give the plate another wash with 



China Painting, 285 



turpentine, to. remove all remains of the color from the transfer- 
paper ; then mix thoroughly two parts of carnation No. 2 with 
one part of ivory-yellow, adding a little turpentine and clove 
oil ; give the face and neck a wash with this color and touch 
up the cheeks with carnation No. i mixed with clove oil and 
turpentine ; now lay on the shadows with neutral gray, five 
parts, mixed with deep chrome-green, one part, using clove oil 
and turpentine in mixing the colors ; last, the deepest shadows 
with brown No. 4, two parts, to one of ivory-black, mixed to- 
gether with clove oil and turpentine, and immediately before any 
of the paint dries use the stipple to blend the colors, making the 
face round out and have the blending soft and true to nature ; 
set your copy before you and try to have the shadows on the 
face you paint correspond exactly with those in the copy. 

Now leave the face and neck, and place some brown No. 4 
on the tile ; do not mix it with anything ; use it as it comes 
from the.tube, dipping your brush in turpentine when it becomes 
necessary to thin the paint a little ; with this paint the shading 
of the hair and follow with your brush, as nearly as possible, the 
sway of the masses. That finished, paint the eyes, eyebrows, 
and nostrils with brown No. 4 and ivory-black mixed together 
as they come from the tubes, using when necessary a little 
turpentine ; then mix a little carnation No. i with fat oil for 
the lips. Next turn your attention to the drapery ; shade the 
white material with gray No. I, unmixed, and gray No. 2 for 
the deeper shadows, mixed with fat oil and turpentine. 

For the handkerchief on the head mix emerald-green with 
fat-oil and turpentine ; put it on in a light tint, so that the hand- 
kerchief can be shaded, when dry, with the same color. 

When the plate is dry, it is ready to be fired. After it has 
been fired touch up the shading on the face and neck with two 
parts of carnation No. 2 mixed with one of brown No. 4, using 
clove oil and turpentine while mixing; and for the deepest shad- 



286 Atdumn. 



ows mix two parts of brown and one of ivory-black together with 
clove oil and turpentine. This must be put on carefully, so that 
the shadows will not be too dark. Use the stipple to blend the 
shadows ; then give the hair a wash of yellow ochre all over, and 
touch up the handkerchief on the head with emerald green, the 
same you used before. 

For the background of the head mix light coffee, turpen- 
tine, and capavia oil ; make it an even tint with the blender 
(Fig. 175) ; the brush must be clean and dry, and used in the 
same manner as the pad in tinting, then, for the outer border, 
mix celestial-blue with capavia and turpentine, and with your 
large flat brush paint the border and blend it to an even tint 
with your pad. When this is finished wipe off the paint around 
the edge as evenly as possible, so that the bare china may be 
left to receive a band of gold. Roll up a piece of white cotton 
cloth into a small point and with this remove the paint around 
the inner edge of the blue border, making an even narrow 
white band ; this is also to be gilded. 

On a clean tile mix the mat gold with turpentine, and 
using the slender, fine, long-haired brush, carefully cover the 
white bands of china with gold ; when this is finished the plate 
is ready for the second and last firing. If a fairer complexion be 
desired, make the flesh-tints of the same colors, only lighter in 
tint ; try the paint on the edge of the tile until the tint is correct. 
Always try your colors this way when painting any design. For 
blue eyes use sky-blue shaded with black ; the high light of the 
eye may be left the white of the china. If you wish the hair 
very light, take ivory-yellow and shade with sepia and black. 

Once more we say, be very careful in tracing not to get 
the head or features out of drawing, as so much depends upon 
the correct outlines. Before sending china to be fired, paint in 
small figures the date on which it was decorated and add your 
name or initials. 



China Painting. 2S^ 



How to Paint a Carp, Sea-weed, and Fish-net on China. 

Having traced in your design very carefully, mix one part 
of neutral gray with two parts of sky-blue, some clove oil, and 
turpentine ; with this paint the upper edge of the back of the 
fish dark, graduating to white along near the centre of the fish ; 
stipple this so that it will look even, soft, and rounding, keeping 
it dark on the edge and tinting down to the white china ; paint 
the tail and dorsal fins a flat tint of gray No. 2 mixed with fat 
oil and turpentine ; then mix carnation No. 2 with fat oil and 
turpentine for a flat tint on gills, mouth, and ventral fin ; shade 
the mouth with the same color and paint the anal and pectoral 
fins a flat tint of car- 
nation No. 2 mixed 
with sepia ; when dry 
shade with the same 
color, and also shade 
the gills and fins 
painted carnation y 

with carnation, and 
the dorsal fins and tail shade with ivory-black mixed with fat 
oil and turpentine ; try the paint with your brush until you 
get rather a gray tint instead of black, and use this for the 
shading ; now paint the rows of spots along the back of the fish 
ivory-black, making the dots smaller as they approach the tail ; 
and with your eraser take the paint off of the eye, leaving a 
clean white spot of china ; paint a fine circle around this in 
ivory-black ; then paint a portion of the eye black, leaving the 
white china for the high lights ; in painting the scales and 
lower part of the fish use gray No. i as it comes from the tube, 
mark an outline of gray along the lower edge of the fish and 
stipple it off in the white, remembering this gray must occupy 
only a narrow line along the lower edge of the fish. 




288 



Autumn, 



Commence to mark the scales in gray No. I by making a 
line of them with a fine-pointed brush downward across the 
body of the fish (Fig. i86) and this will be a guide to build out 
from (Fig. 187) ; after the painting has thoroughly dried begin 
again by marking, on the head and around the eye, the tiny 
scales in gray No. 2, with a little fat oil and turpentine, and paint 
a line along the upper edge of the head and back with brown 
No. 4, and another lighter line of the same color along the back 
just below and adjoining the first one ; paint the eye and 
markings on the head brown and strengthen the tail and dor- 
sal fins with gray No. 2 ; touch up around the gills with sky 
blue, also with yellow ochre where the copy requires it. Then 

turn your attention 
to the sea-weeds ; 
mark the thread-like 
branches of these in 
different colors, using 
carnation, brown No. 
4, gray No. 2, and 
brown-green ; paint 
each weed in one color, place the sea-weeds on one side or 
corner of the plate, making them branch out this way and that, 
as in nature. Now clean off your palette and mix some mat 
relief for the fish-net, which is to be placed over and across a 
portion of the plate; with a lead-pencil mark the netting on 
the plate, but do not touch the fish ; then with a very fine 
brush follow the markings with the relief, when it is necessary 
to paint across the fish, your eye and the copy must be your 
guides, as it would take the paint off the fish to attempt any 
marking on it. The relief on the fish cannot be altered, so be 
careful to have it correct the first time. Should the line of re- 
lief be too broad in other places, remove it with your scraper 
and make another trial. When the plate is perfectly dry it 




China Painting. 289 



must be fired, after which put in a background of warm gray 
mixed with capavia and turpentine ; bring this to an even tint 
with the blender, and if any paint blends over on the fish wipe 
it off while the color is damp ; also remove the paint from the 
netting and set the china away to allow the color to thoroughly 
dry ; next paint broad sweeps across the plate, but not over 
the fish, with gray No. 2 mixed with fat oil and turpentine, to- 
represent the different tints of the water, and again remove the 
paint from the net ; now touch up the sea-weed and- the fishi 
where they need strengthening, then give the fish a very light 
wash of gray No. I. 

Here and there along the upper edges of the water colored 
gray No. 2 make a very fine line with enamel or relief-white 
mixed with a little fat oil and turpentine ; gild the fish-net, us- 
ing either pure gold or mat gold, cover the relief carefully with 
the gold, and put it on thick but in fine lines ; this accomplished, 
finish by gilding the edges of the plate with mat gold, and when 
dry send it to be fired. To avoid mistakes when sending china 
to be fired, state whether you wish the gold burnished, dull, 
or polished. 

Foliage on China Made W^ith a Sponge. 

Prepare the paint with fat oil and turpentine, rub it down 
smooth, then with a small sponge apply the colors, using differ- 
ent shades as the first dry, and touching up afterward with a 
brush ; in this way you can also paint backgrounds which can- 
not be made with the brush. 



Mixing Colors. 

The best way to paint with safety when you are in doubt 
what colors will mix, is to test them yourself. For this pur- 
19 



290 Autumn, 



pose take a French china plate and make experiments with 
different colors on the plate ; at the same time write down a 
memorandum of the paints used and of those mixed, have the 
plate fired ; then paste your memorandum on the back. Use 
this for reference, and with experience will come the full 
knowledge of the use of all the paints. 

Royal W^orcester "Ware 

is very delicate and dainty and something quite novel for ama- 
teurs in the way of china decorations. 

Very beautiful pieces of this ware may be seen now in all 
the leading china establishments in New York City, and so 
choice is it that even some of the largest jewelry stores have 
rare Royal Worcester vases among their most valuable articles 
on .exhibition. 

We know of no book that teaches this art of decoration, and 
although we have seen some amateur work which only an ex- 
pert could distinguish from the genuine article itself, we think 
our exposition of the method is the first of its kind printed in 
this country ; and girls, if you would know the secret, so that 
you also may be able to paint and gild in this beautiful fashion, 
you have only to listen while the writer tells how to decorate 
a Royal Worcester vase as she did ; then you will have a practi- 
cable and detailed method which we know to be good, having 
tried it. 

Select a vase of the finest French china, and be sure that it 
is perfectly clean, dry, and free from dust. Then with a clean 
white cotton cloth give the vase a wash all over with clear tur- 
pentine, and having chosen your design, make a tracing of it 
on the vase, and it will be ready for grounding. Mix enough 
mat lemon-yellow to cover the entire surface of the vase. First 
place a little of the powder on the tile, then dip your palette- 



China Painting, 



291 



knife in the capavia oil and tap it off on the tile ; in the same 
way drop turpentine on the tile with the oil. Use a horn pal- 
ette-knife and thoroughly mix the paint, oil, and turpentine ; 
if the mixture seems too stiff, add a little more oil and turpen- 
tine, but be careful not to have 
the paint too thin, so that it will 
run ; try the paint with a brush 
on a clean place on the tile to 
see if it is of the right consistency 
and shade ; do not let the color 
be too intense ; it should be of a 
delicate tint, and if it is too dark 
add a very little more oil. Take 
a broad, flat brush and begin to 
paint at the top of the vase, pass- 
ing around with short strokes 
rapidly over its whole surface ; 
go over the tinting with a pad, 
touching lightly and gently; 
then set the vase away to dry in 
a dry place free from dust. The 
Indian-ink outlines will be plain- 
ly visible through the paint, and 
when the grounding or tinting 
has thoroughly hardened, to re- 
move the color from the design, 
mix a little of the tar paste upon 
a clean tile by working it with 
your palette-knife until it is smooth, 
over the design with this mixture, covering every part except 
the stems and fine grasses ; be very careful not to go outside 
of the lines. When the design is all painted with the paste, 
begin at that first covered and wipe pff the tar paste with small 




Fig. 188.— Royal Worcester Vase. 



Use a small brush and go 



292 Autumn, 



pieces of cotton batting rolled into little balls, using a fresh wad 
for each stroke ; clean it all off carefully and the vase will pre- 
sent vacant white china spots where the flowers, leaves, and bird 
are soon to appear. For a guide we will take Fig. 188. Now 
mix a little mat pink with fat oil and turpentine in the same way 
you prepared the grounding yellow, only this time fat oil takes 
the place of capavia ; use the horn palette-knife as before ; the 
steel knife should never be used with the Royal Worcester 
colors, as the metal is apt to rub in with the paint, dulling and 
spoiling the colors. Paint all the flowers a flat tint of light 
pink. Always try the color first on the tile until you have the 
desired shade. By the time all the flowers have received their 
tint of color, those first painted will be dry enough for shading. 
Observe attentively the copy, and notice where the different 
flowers are shaded ; then shade yours with the same color, fol- 
lowing as nearly as possible the copy before you. 

For painting the leaves, mix separately with turpentine and 
fat oil, mat light yellow-green, mat dark-green, and mat blue 
green. These colors can be used separately or any two mixed 
if desired. Shade the leaves with mat yellow-brown mixed 
with the different greens. Paint the body of the bird a flat tint 
of mat gold-yellow and the top of its head and back green ; 
the edges of wing and tail and eye must be of mat black. 
When the bird is dry, shade its breast with broad sweeps of 
mat gold-yellow, according to the copy ; then mix black with 
yellow-brown for the other shading on the bird's breast, and 
mix black with blue for painting and shading the wings and 
tail. 

While the paint is drying on the vase mix the mat relief for 
the raised edges of bird, flowers, and stems. Mix the rehef 
with turpentine and fat oil, making it as stiff as it can be used. 
With a very fine brush outline the bird, its wings, and tail ; also 
a few strokes on its breast, tail, and back ; be sure the relief is 



China Painting, 293 



stiff enough to make a fine raised line ; then outHne the flowers 
and the stems ; the leaves are not raised on the edges. When 
this is finished the vase is ready for its first firing. Allow the 
ware to become perfectly dry before sending it to the firers. 

As great care should be taken with the firing of royal 
Worcester china, send your vase to the most reliable firers you 
know of, and when it is fired and returned, all that remains to be 
done is to carefully gild the vase. Mix pure gold with turpen- 
tine, but do not have it too thin, as the gold should be applied 
as thick as possible. For fine gilding use a fine small brush with 
long hairs ; this will make a distinct thread-like line ; first cover 
all the relief with the gold, next outline the leaves, veining them 
if necessary ; then with thick gold make your grasses accord- 
ing to the copy. When the gold becomes too stiff work in a 
little more turpentine. After you have finished this gilding, 
mix some mat gold with turpentine and gild the top rim of the 
vase ; use the small stipple brush cut off square at the end 
(Fig. 179), and bring the border down unevenly along its 
lower edge, making it the same way on the inside of the vase ; 
then with the fine long-haired gilder cover the upper edge of 
the vase thick with gold. This finished, gild the bottom of the 
vase in like manner and make the handle solid gilt ; after it is 
all dry the vase is ready for its second and last firing, and 
when it returns again from the firers you will have a piece of 
beautiful Royal Worcester ware similar to that seen at Tiffany's. 

The mat colors used, remove all the gloss from the china, 
and when mat lemon-yellow forms the grounding, the china 
comes from the firing having the appearance of beautiful deco- 
rated ivory without any glaze. 

This ware must be seen to be appreciated, and is suitable for 
vases and ornaments, but the Royal Worcester colors cannot be 
used on table china, for any grease coming in contact with the 
colors would spoil them. 



294 



Autumn, 



Exquisite little vases of all shapes are decorated in this man- 
ner ; the delicate gold tracery and outlining brings the designs 
out effectively. In this style of painting the decoration is more 
conventional, and does not require the same amount of working 
up and shading, but is as a rule, treated simply, flat tints with a 
little shading being all that is required. Almost any floral de- 
sign can be used on royal Worcester, when outlined with relief 
and gold ; there are, however, copies which come expressly for 
the purpose. 





CHAPTER XXVII. 

A CHAPTER ON FRAMES. 

'FTER the foregoing chapters on drawing and paint- 
ing, it is surely our duty to provide the means, 
of framing the various pictures which we hope 
will be the result of their teachings. Un- 
framed, a picture is apt to be tucked away out 
of sight, or it becomes rumpled and spoiled 
when left lying about, and a picture-frame, as a rule, is quite an 
expensive article ; but with a little ingenuity and good taste 
almost any girl may manufacture frames, if not of equal finish,, 
at least as durable and quite as artistic as any the dealer can. 
produce. 

The cost ? The cost is the price of a wooden stretcher and 
a bottle of gold paint. 

The first sketch shown here (Fig. 189) will give some idea 
of the appearance of a frame decorated appropriately for a 
marine picture. The articles necessary for this frame are a 
stretcher, some rope, a piece offish-net, several dried starfish, 
and gold paint. The stretcher must first be gilded ; then the 
rope, upon which the fish-net has been strung, should be fast- 
ened with small tacks around the outer edge, joining it at the 
corner, where the starfish will hide the ends. The net must 
be large enough to drape gracefully across one corner, along 
the top, and fall a short distance down the other side of the 
frame. When the starfish, graduating in size, are tacked 



296 



Autumn, 



around the draped corner, and they, as well as the rope and net, 
are given a coat of gilt, a pretty, unique, and substantial frame 
is the result. 

If starfish are not to be had, sea-shells may be used instead 
(these of course will have to be glued in place), and if fish-net 




Original Design — Marine Picture Frame. 



is also out of reach, a piece of fine netted hammock can be 
:used as a substitute. 

For the benefit of those who spend their summers at the 
sea-shore where such things are obtainable, I would a^dvise that 
a small collection be made of the quaint and pretty products 



A Chapter on Frames. 



297 



of the place, as they will be found useful in various ways for 
decorative purposes. 

The next sketch (Fig. 190) shows a corner section of frame 
especially appropriate for a flower piece. The open lattice-like 

border is cut 
with a sharp 
W(// penknife from 
'm}^- stiffpasteboard 




and tacked 



along the edge 

of the frame. 
The pattern 
shown in diagram 
(Fig. 191) is simple, 
quite easily made, 
and well suited for a 



border, though other and 
more elaborate ones may 
be used. This border must, 
of course, be made in sec- 
tions. The edges to be con- 
nected should be cut to fit exact- 
ly, then after lacking them upon 
the frame the whole may be laid 
upon a table, face downward, and 
strips of paper pasted across the joints 
(see Fig. 192), which will hold them 
securely together. If the work is 
neatly, done, when the gilt is applied all traces of the joints will 
disappear. The decorations of this frame consist of a spray of 
artificial rosebuds and leaves, gilded and tacked on the upper 
left-hand corner. A few scattered rosebuds look well upon the 
lower part of the frame near the right-hand side. 



Fig. 190 Section of 

Decorated Frame. 



298 



Autumn. 




/wyJ^2 



Section of Border for Decorated Frame. 



Figure 193 is the 
section of a frame 
which will look well on 
almost any kind of pict- 
ure. It is made by- 
tacking a small rope 
around the inside edge 
and then covering 
it and the frame 
with crumpled 
tin-foil, which, af- 
ter it is pressed 
to fit the rope, is 
brought around 
and tacked on the 
wrong side of the 
frame, joining that edge which is turned over the top. Care 
should be taken while handling the tin-foil not to flatten it, as 
its beauty depends upon 
its roughness. The 
pieces are joined by sim- 
ply lapping one edge 
over the other, the un- 
even surface hiding all 
seams. This frame like 
the others must be gild- 
ed. 

A very effective rough 
surface on a frame can be 
produced by dabbing on 
it with a palette-knife the 
scrapings of the palette. 




Of course this frame can- ng. i93.-section of Frame 



covered with Tin-foiL 



A Chaj)ter on Frames, 



299 



not be made in a day, but if every time the palette is cleaned 
the paint is used in this way it will not be long before the sur- 
face is covered and ready for gilding. 

The cork paper used in packing bottles makes quite a hand- 
some frame for black and white pictures or photographs (Fig. 
194). This paper is sprinkled all over with small bits of cork, 
making a rough surface and 
one admirably suited to the 
purpose. 

First the foundation of the 
frame is cut of stiff pasteboard 
exactly the size and shape de- 
sired ; then the cork paper is 
cut the width of the frame and 
glued securely to it, the cor- 
ners being joined as in Fig. 
195. The frame is very pretty 
when left its natural color, as 
it resembles carved wood at 
a little distance, but it can be 
gilded if preferred. 

The inside mat is made of 
white or gray-tinted card- 
board, cut with the open 
space for the picture, from 
half an inch to an inch smaller 
than the opening of the frame, 
of the frame and then 




/7^. W4- 

Cork Frame. 



The mat is pasted to the back 
the entire back is covered with strong 
paper pasted at the top and two side edges, and left open at 
the bottom until the picture is shoved in place, when the lower 
edge is fastened also. The mat will look well if the inside 
edge is gilded. 

Another frame is made in the same manner as the one just 



300 



Autumn. 



described, only instead of using cork paper a thick coating of 
glue is put all over the face of the foundation, and sand or small 

pebbles are sprinkled over the entire 

surface. This must be quickly done 
before the glue has time to harden. 

The writer has in her possession 



Fig. 195. 



a pretty little winter landscape done in water-colors. 
It is a snow scene, and its light effect is well set off 
by the frame, which is made simply of two pieces of 
heavy brown strawboard or pasteboard. The two 
pieces are cut exactly the same size ; then the centre 
is cut out of one, leaving a broad frame of equal width 
on all sides. The picture is placed between these two boards, 
which are then glued together. The cord for hanging it is fast- 
ened to two small brass rings which are attached to pieces of 
tape glued to the back of the frame, as in Fig. 196. Fig. 197 
shows how a piece of paper is pasted over the tape 
to hold it more securely. 

When making a frame of this kind the picture to 
be framed should first be measured and the width of 
the frame decided upon ; then cutting 
a piece of paper the size the open 
space is to be, or one-half inch smaller 
all round than the picture, it must be 
laid upon the pasteboard and a mark 
drawn around it showing its exact size 
and proportion (Fig. 198). The width 
of the frame can then be measured from 
these lines, which will place the open- 
ing exactly in the centre (Fig. 199). 
The lines must be perfectly straight 
and the measurements correct or a lop-sided frame will be the 
result. 





lYy.m 



FiyJS^r 



A Chapter on Frames. 



301 



In cutting out the frame a sharp knife should be used, and 
it will be a great help in keeping the lines straight if a ruler is 




F/^. WS 



Fiff.WO 



held down firmly close to the line to be cut, and the knife 
guided by that. 




CHAPTER XXVIII. 



THANKSGIVING. 



to Pagan ancestors in far-away coun- 
tries, but to our own Pilgrim Fathers 
do we trace the origin of Thanks- 
giving Day — as purely American as 
our Independence Day. Instituted 
by William Bradford, the Governor 
of Plymouth, and first observed by 
the Puritans, who, suffering from 
hunger and privation, were truly 
thankful when the first harvest 
brought them the means of support for the approaching winter, 
it has come to us as *' the religious and social festival that con- 
verts every family mansion into a family meeting-house." 
The pleasant New England custom of the gathering together 
of families to celebrate Thanksgiving is now observed in most 
of our States. From far and near they come, filling the cars 
with merry family parties, who chatter away of anticipated 
pleasures to be found in the old home. Little children taught 
to lisp grandma and grandpa are instructed by their mammas 
not to be afraid of the old gentleman who will meet them at 
the depot, nor the dear old lady who waits with open arms at 
the door of grandpa's house. 

Children old enough to know what a Thanksgiving at grand- 
pa's is like are wild with deli-ght at the prospect before them. 



Thanksgiving. 



303 



Their eyes brighten at the thought of the great pantry where 
grandma keeps her doughnuts and cookies ; of the cellar with 
its bins of sweet and juicy apples ; of the nuts and popcorn, all 
of which taste so much nicer at grandma's than anywhere else. 
And then what fun 
the games will be 
which they will play 
with cousins, who, 
though rather shy at 
first, will soon make 
friends. The lovely 
young aunties, too, 
who help grandma 
entertain all these 
guests, will join in 
the games and sug- 
gest and carry out 
schemes of amuse- 
ments which the chil- 
dren would never 
think of. 

What a happy 
holiday it is, how so- 
cial and pleasant and 
comfortable and 
easy ! How near and 
dear all the bright 
faces gathered around 
the long table at the 

Thanksgiving-dinner, seem to be. Truly, 
thankful that we have a Thanksgiving. 

However, this chapter is not written merely to generalize 
upon the pleasures of the day, but in order that we may offer 




One Little Indian. 



we should all be 



304 



Autumn. 



something new, in the way of amusement, which will add to 

the fund of merriment on this oc- 
casion. The series of 




Impromptu Burlesque Tableaux 



Pilgrim's Spectacles. illustrating some of the principal 

events in our history will be ap- 
propriate for this national holiday, and will prove a mirth- 
provoking enter- 
tainment. 

When two rooms 
are connected by 
folding-doors, a 
whole room may 
be used for the 
stage. In this case 
no curtains-are 
necessary, as the 
doors take their 
place, an4, for 
promptu tableaux, 
answer very well. 
When there are no 
such connecting 
rooms, one end of 
a large room can be 



curtained off with 
sheets, or any kind 
of drapery, sus- 
pended from a rope p^„^^„^ ^^ p-i^^j^ p^^^^^^,^ ^^^ ^^ o^^i^^ 
or wire stretched 
from one wall to the other. It is best to keep the audience as 




Thanksgiving. 



305 



far away from this improvised stage as the room will admit of, 
for distance greatly assists the effect. 



Landing of the Pilgrims. 

Tableau i. — The good ship Mayflower has just touched 
Plymouth Rock. Pilgrim Father stands upon the rock, and 
reaches down to help Pilgrim Mother 
to land. A number of Indians sit upon 
the edge of the rock, fishing unconcern- 
edly over the side, while the Pilgrims 
take possession. In the ship Pilgrim 
children are standing, with outstretched 
arms, waiting to be taken ashore. 



COSTUMES. 



Pilgrim Father. — Cape, a broad- 
brimmed, high-crowned hat and large, 
white collar, over ordinary boy's dress, 
spectacles — cut from black paper (Fig. 
200). The cape may be of any mate- 
rial, so that it is of a dark color. 

The hat can be made by cutting 
from stiff brown paper a crown (Fig. 
201), fitting it around the crown of an 
ordinary flat-brimmed hat, bringing it 
into a conical shape, and pinning it in place (Fig. 202). The 
brim should be cut from the same paper in a large circle (Fig. 
203), the hole in the centre being just large enough to fit nicely 
around the crown, over which it is slipped, and pushed down 
until it rests upon the real hat-brim (Fig. 204). The paper 
brim should be about seven inches wide, and the crown nine 




Costume of Pilgrim Father. 



3o6 



Autumn, 




inches high. Figure 205 is the pattern of collar, which can be 

made of white 
paper or mus- 
lin. 

Pilgrim 
Mother.— 
Full, plain 
skirt, white 
kerchief, small 
white cap, and 

Manner of Making Pilgrim Mother's Cap, large SpCCta- 

cles. A gen- 
tleman's linen handkerchief, put around the neck and crossed 
over the bosom, answers for a kerchief. The cap, too, can be 
made of a large handkerchief in 
this way. 

Fold the handkerchief in the 
manner shown in Fig. 206 ; lay 
it flat upon a table, and turn the 
folded corners over as in Fig. 
207 ; turn up the bottom edge 
over the other, and roll over 
about three times (Fig. 208) ; 
take the handkerchief up by the 
ends and the cap (Fig. 209) is 
made. 

Children. — The young Pil- 
grims' costumes are like the 
others, on a smaller scale, but 
they wear no spectacles. 

Indians. — Bright-colored 

, 1 r 1 1 1 - 1 r -1 Oostumeof Pilgrim Mother. 

shawls for blankets, and leather- 
dusters for head-dresses. The duster is tied on to the back of 




Thanksgiving. 



307 



the Indian's neck with a ribbon which passes under the chin, 
and the shawl is placed over the handle, partially covering the 
head and enveloping the figure. 



PROPERTIES. 

The ship is a large wash-tub, which Is placed in the centre 
of the stage ; its sail is a towel, fastened with pins to a stick, 
the stick being tied to a broom, as shown 
in illustration. It is held aloft by one of 
the children in the tub. 

Plymouth Rock is a table, occupy- 
ing a position near the tub. On top of 
it is a chair, placed on its side to give 
an uneven surface, and over both 
chair and table is thrown a 
gray table-cover. The 
fishing-poles of the In- 
dians are walking- 
canes with strings 
tied to the ends. 

First Harvest. 



Tableau 2.— Pilgrim fam- 
ilies, grouped in the centre of 
the stage, examining an ear of 
^i'liTiWiiW^Mim i^^^^^^"^^-- corn and rejoicing over their 

The Good Ship Mayflow. ^^^^ harvest. 




PROPERTIES. 

A broom, upon which is tied one ear of dried corn, or 
popcorn, it doesn't matter which, and if neither is to be had, 
an imitation ear of corn can be made by rolling paper into the 



AMtumn. 




Fig. 210.— Paper Ear of Corn. 



Fig. 211 Pattern for Outside Fig. 212.— Ear of 

Husks of Corn. Corn Finished. 



shape of Fig. 210, cutting husks after the pattern Fig. 211, and 
putting them together Hke Fig. 212. The 
broom is held erect, with the handle resting 
on the floor, by Pilgrim Father. 

Devastation by the Indians. 

Tableau 3. — A long table reaches across 
centre of stage ; upon it are empty dishes, 
and the remains of a feast. 

At each end and at back of table are 
grouped the Indians, who are gnawing large 
turkey-bones and eating huge pieces of 
bread and pie. The Pilgrim family stand at 
each side, and view with horror the destruc- 
tion of their dinner. 

PROPERTIES. 

The table is a board placed across the 

backs of two chairs. In the centre of the 

table is a large pie-plate, with only a very 

small piece of pie remaining in it ; most of 

The Corn-field. the Other dishcs are empty. 




Thanksgiving. 



309 



The Revolution. 

Tableau 4. — This is represented by the revolution of a 
wheel. Pilgrim Mother stands in the centre of the stage, at a 
spinning-wheel, which is set in motion just as the curtain is 
parted. 

PROPERTIES. 

If a real Spinning-wheel cannot be obtained, a velocipede, 
baby-carriage, or child's wagon, turned upside down, will answer 



[I 











The Spinning-wheel. 



the purpose. In the illustration the curtain has been made 
transparent, to show how the two back wheels of a velocipede 



31 o Autumn, 



are disposed of. A broom is fastened in an upright position to 
the velocipede, and on the handle is tied a piece of gray linen 
(a handkerchief will do), to represent flax. A string tied to the 
linen is held by Pilgrim Mother. The curtain must be dropped 
before the wheel ceases to revolve. 

Slavery. 

Tableau 5. — Pilgrim Mother is bending over a wash-tub, 
with sleeves rolled up to shoulders, washing ; a great pile of 
clothes lies on the floor at her side ; she looks angrily at the 
Pilgrim Father, who sits opposite to her with his legs crossed, 
calmly reading a newspaper.* 

PROPERTIES. 

The tub used for the ship, placed on two chairs ; a wash- 
board and a pile of clothes, white predominating. A rocking- 
chair for the Pilgrim Father. 

Rebellion. 

Tableau 6. — Pilgrim Mother stands in defiant attitude, fac- 
ing Pilgrim Father, who has just arisen from his chair. 

The tub and one of the chairs upon which it stands are tipped 
over, and the clothes are scattered about. 

PROPERTIES. 
Same as in preceding tableau. 

Peace and Plenty. 

Tableau 7. — Table extending across the centre of stage is 
heaped with all sorts of edibles — whole pumpkins, vegetables, 

* Of course we all know that our Pilgrim fathers did not have the daily 
papers, but this fact makes it the more absurd. 



Thanksgiving. 



311 



fruit, and flowers. At one end of the festive board stands Pil- 
grim Father, at the other Pilgrim Mother, smiling at each other. 

The Festive Board. 

Pilgrim Father holds a long carving-knife, as 
though about to carve a large pumpkin in 
front of him. Pil- 
grim Mother is in 
the act of cutting a 
huge pie. At the 
back of the table 
are ranged the Pil- 
grim children, each 
holding outstretched 
an empty plate, waiting to be served, and all smiling. At each 
side of the stage, extending to the front, is a line of Indians 






Side View. 



Back View. 
Fig. 213,— Pumpkin Lantern. 



Front View. 



sitting on the floor, smoking the pipes of peace. The Indians 
also are smiling. 

PROPERTIES. 

Table same as in Tableau 3 : Dishes, fruit, and vegetables. 
The Indians' pipes are canes with bent handles. 

If, in arranging the stage, clothes-horses, with drapery thrown 



312 



Autumn, 



over them, are placed at the back, they will not only form a back- 
ground for the pictures presented, but the space behind makes 
a nice dressing-room or retiring-place for those taking part. 

Pumpkin lan- 
terns, set in a 
row on the floor 
just inside the 
curtain, will be 
funny substi- 
tutes for foot- 
lights. They 
will decorate the 
stage appropri- 
ately, and at the 
same time be 
quite safe. Fig. 
213 shows how 
they are made. 
The face is not 

cut through, but the features are scraped 
thin enough to allow the light inside to 
make them visible. If they were cut, 
as in ordinary pumpkin lanterns, the 
light would shine out from instead of 
on to the stage. 




The Game of the Headless Turkey 



Silhouette of the Headless Turkey. 



A large silhouette, representing a 
headless turkey, is cut from black, or 

dark colored paper-muslin, and fastened upon a sheet stretched 
tightly across a door-way. To each member of the party is 
given a pin and a muslin head, which, if rightly placed, will fit 



Thanksgiving, 313 



the turkey. Then, one at a time, the players are blind-folded 
and placed at the end of the room opposite the sheet. After 
turning them around three times one way, then three times 
the other, they are started off to search for the turkey, that 
they may pin the head where they suppose it belongs. When 
the person going blindly about the room comes in contact 
with anything, no matter what, be it chair, table, wall, door, or 
another player, she must pin the turkey-head to the object 
touched. To the person who comes nearest to placing the 
head in its true place, a prize of a gilded wish-bone, tied to a 
card with a ribbon, is given. And she who makes the least suc- 
cessful effort is presented with a turkey-feather, which she 
must stick in her hair and wear for the remainder of the even- 
ing. 

A Suggestion. 

Amid all these bright and happy thoughts of feasting and 
merrymaking, comes an idea, so gently, yet persistently, forcing 
itself upon my notice, that it finally assumes the form of a def- 
inite plan which I will put to you in the form of a suggestion. 

At this time, when, thinking over the numerous blessings, 
that most of you find to be thankful for, how would it do, 
girls, to form a society among yourselves, to be called the 
Thanksgiving Society, whose object will be to provide a real 
Thanksgiving for other and less fortunate girls, by giving them 
something to be thankful for before next year's Thanksgiving 
shall arrive? 

There need be no formality about the society. The only 
necessary officer will be a secretary, to keep a record of what is 
done by the society, individually and collectively ; which report 
the secretary will read at the grand annual meeting on Thanks- 
giving Day. 



3H 



Autumn, 



Many girls, young, like yourselves, to whom it is just as 
natural to be glad and happy, have little to make them so, and 
to bring some brightness into their lives would indeed be worth 
forming a society for. • 

There are various ways in which kindness may be done 
these girls, and so many avenues will open to those seeking to 
benefit them, that it is needless to attempt any instruction as to 
Avhat work may be performed by the society ; if this suggestion 
is adopted, I know it will be safe to leave it to the quick sym- 
pathy and warm hearts of the girls to do the right thing at the 
right moment. What think you, girls, would it not be worth 
while to make of this last Thursday of November a Thanks- 
giving for others as well as for yourselves ? and would not your 
own pleasures be doubly enhanced when sweetened with the 
thought of having done what you could to make someone else 
happy ? 





CHAPTER XXIX. 



CHRISTMAS FESTIVITIES AND HOME-MADE 
CHRISTMAS GIFTS. 



MONG all the days we celebrate Christmas 
stands first and foremost in our thoughts, 
the holiday of holidays. Coming in the 
season of frost and snow it brings a 
cheering warmth to our hearts that 
defies tha^icy atmosphere, and the 
feeling pi kindliness and good will 
toward everyone, which it awakens, seems in response to the 
words the angels sang on our first Christmas, '* On earth peace, 
good will toward men." 

Christmas is not merely a day set apart for feasting, giving 
and receiving presents, and for merrymaking. The day on 
which we celebrate the birth of our Lord is a time of rejoicing 
for rich and poor alike, and Christmas is Christmas still, although 
we may receive and can offer no presents and our feast is hum- 
ble indeed. 

Feeling this, let us keep the Christmas festival as it should 
be kept, right happily and merrily. Let us decorate our homes 
to the best of our ability in honor of the day, and supply all 
deficiencies with happy hearts and smiling faces. 

A friend of the writer's once remarked, as she busied herself 
with some Christmas-cards she was preparing to send to the 



31 8 Winter, 



hospitals, *' I always like to tie a sprig of evergreen on each 
card ; it looks and smells so Christmasy." And so it does. 
Even a few pieces of evergreen, tacked over doorways or 
branching out from behind picture-frames, give a room a fes- 
tive, Christmas-like appearance that nothing else can, and as 
evergreens are so plentiful here in America there are few 
houses that need be without their Christmas decorations. 
Holly, too, with its brilliant red berries peeping cheerily forth 
from their shelter of prickly leaves, adds brightness to the other 
adornments, and when the white-berried mistletoe can also be 
obtained all the time-honored materials for the Christmas deco- 
rations are supplied. 

Though we are Americans, our ancestors came from many 
nations, and we have therefore a right and claim to any custom 
we may admire in other countries. We may take our Christ- 
mas celebrations from any people who observe the day and 
combining many, evolve a celebration which in its variety will 
be truly American. 

From Germany we have already taken our Christmas-tree ; 
from Belgium our Christmas-stocking ; Santa Claus hails from 
Holland, and old England sends us the cheery greeting, Merry 
Christmas ! 

The custom the French children have of ranging their shoes 
on the hearth-stone on Christmas-Eve for the Christ-child to fill 
with toys or sweetmeats, is too much like our own Christmas 
stocking to offer any novelty. The Presepio, or Holy Manger, of 
the Roman Catholic countries, which represents the Holy Family 
at Bethlehem, with small wooden or wax figures for the charac- 
ters, is more suitable for the church celebration, but in Sweden 
and Denmark they have a peculiar method of delivering their 
Christmas-presents which we might adopt to our advantage, for 
it would be great fun to present some of our gifts in their novel 
manner. 



Christmas Festivities. 319 

Instead of describing this custom we will tell you just how 
to carry it out and will call it the 



Julklapp, 

which in Denmark and Sweden means Christmas-box or 
gift. 

Before Christmas-Day arrives all the presents intended for 
the Julklapp delivery must be prepared by enclosing them in a 
great many wrappings of various kinds, none of which should 
in any way suggest their contents. 

If one of the presents is a pretty trinket, wrap it up in a 
fringed tissue paper, such as is used for motto candy or sugar- 
kisses ; place it in a small box, and tie the box with narrow 
ribbon ; then do it up in common, rough brown paper, and wrap 
the package with strips of cloth until it is round like a ball ; 
cover the ball with a thin layer of dough, and brown in the 
oven. Pin it up in a napkin, wrap in white wrapping paper and 
tie with a pink string. 

The more incongruous the coverings, the more suitable they 
are for the Julklapp. You may enclose others gifts in bundles 
of hay, rolls of cotton or wool, and use your own pleasure in 
choosing the inner wrappings. It will be the wisest plan to 
always use something soft for the outside covering, the reason 
of which you will understand when the manner of delivery is 
explained. Each package must be labelled with the name of the 
person for whom it is intended, and if an appropriate verse, 
epigram, or proverb be added it will be the cause of fresh mirth 
and laughter. 

The Julklapp delivery may, and probably will commence 
very early Christmas morning, for the little folks, always early 
risers on this day, will no doubt be up betimes, and ready for 
the business of the day. The first intimation the less enter- 



320 Winter, 



prising members of the family will have that Christmas has 
dawned, will be a loud bang at 'the chamber door, followed by 
a thump of something falling on the bed or the sleeper's chest. 
Then springing up ancl opening startled eyes, from which all 
sleep has been thus rudely banished, one will probably discover 
a large bundle of something on the bed or lying on the floor 
close beside it. It will be useless to rush to the door to find 
from whom or where this thing has come, for although a sup- 
pressed giggle may be heard outside the door just after feeling 
the thump, nothing will be met upon opening it, but dead si- 
lence, and nothing seen but the empty hall. 

At any time during the day or evening the Julklapps may ar- 
rive and when all look toward the door, as a loud rap is heard, 
whizz ! something comes through the window-and lands in the 
middle of the room. A sharp tap at the window is followed by 
the opening and closing of a door, and a bundle of strawj wool, 
paper, or cloth, as the case may be, lands in someone's lap. In 
short the Julklapps may come from any and every direction, and 
when one is least expecting them, and so the surprises and ex- 
citement are made to last until, weary with the fun and gayety of 
the day, the tired merrymakers seek their b^s on Christmas- 
night. 

If it has not been made plain enough who, or what causes 
the mysterious arrivals of the Julklapps we will say that the 
whole household join in the conspiracy, and the packages come 
from the hands of each of its members. The 

Polish Custom 

of searching for Christmas gifts, which have previously been 
hidden in all manner of places in the house, is one the children 
will delight in, and one that, introduced at a Christmas party, 
will provoke no end of merriment and fun. 



Christmas Festivities. 321 

The Bran Pie 

is an English dish, but is quite as well suited to the American 
taste. It is an excellent means of distributing trifling gifts and 
may be new to some of you. 

Use a large, deep brown dish for the pie. Put in it a gift 
for everyone who will be at the Christmas dinner, and cover 
them over thickly with bran, ornament the top by sticking a 
sprig of holly in the centre. After dinner have the bran pie 
put on the table with a spoon and plates beside it, and invite 
everyone to help her or himself, each spoonful bringing out 
whatever it touches. Comical little articles may be put in the 
pie, and the frequent inappropriateness of the gift to the re- 
ceiver of it, helps to create laughter. 

The Bran Pie should be the secret of not more than two 
persons, for, like all things pertaining to Christmas gifts, the 
greater the surprise, the more pleasure there will be in it. 

The Blind Man's Stocking 

may also be used for small gifts, or it may hold only candy and 

bonbons. Make the stocking of white or colored tt 77 

tissue-paper like the pattern given in Fig. 214. \\ // 

First cut out one piece like the pattern, mak- u // 

ing the foot thirteen inches long and six inches \\ 
from the sole to the top of the instep, and the leg 1 
of the stocking sixteen inches from the heel to j 
the top ; then cut another, one inch /^' 

larger all around than the first. Place yx 

the two together fold the edge of the ^;^ 
larger over the smaller piece and paste v^ r i nm: 

it down all around except at the top ^ig. 2i4._Paper stocking. 
(Fig. 214). Fill the stocking with small gifts or sweetmeats, 
21 



322 



Winter, 



tie a string around the top to keep it fast, and suspend it from 
the centre of a doorway. Blindfold each player in turn, put a 
long, light stick in her hand, a bamboo cane will do, and lead 
her up within reach of the stocking and tell her to strike it. 
When anyone succeeds in striking the stocking and a hole is 
torn in it, the gifts or candy will scatter all over the floor to be 
scrambled for by all the players. Each player should be al- 
lowed three trials at striking the stocking. 

Young children are always delighted with this Christmas 
custom, and the older ones by no means refuse to join in the 
sport. 

Home-made Christmas Gifts. 



That the children may do their share toward filling the 
Christmas stockings, adding to the fruit of the Christmas tree, 
hfelping with the Julklapps, contributing to the Bran Pie or 
Blind Man's Stocking, we give these hints on home-made 

Christmas gifts, all of which are in- 
expensive and easily constructed. 

Chamois for Eye-glasses. 

Cut out two circular pieces of 
chamois-skin about the size of a sil- 
ver half-dollar, bind the edges with 
narrow ribbon, and fasten the two 
pieces together with a bow of the 
same. Print with a lead pencil on 
one piece of the chamois-skin, ** I 
and go over the lettering with a pen 
may paint the letters in colors to 
Fig. 215 shows how it should look when 




Fig, 215.— Chamois for Eye-glasses. 



Make all Things Clear," 
and India ink, or you 
match the ribbon, 
finished. 



Christmas Festivities. 



323 



Glove Pen-wiper. 

Cut four pieces from thin, soft chamois-skin, Hke the outline 
of Fig. 216. Stitch one with silk on the sewing-machine, ac- 
cording to the dotted lines. Cut two sHts at the wrist through 




Fig. 216. — Pattern of Pen-wiper, 



Fig. 217 Pen-wiper, 



all the pieces as shown in Fig. 216, and join them together by 
a narrow ribbon passed through the openings, and tied in a 
pretty bow. Fig. 217. 

Sachet. 

Open out an envelope, and cover it with white or cream- 
colored silk, refold carefully, joining the edges with stiff muci- 
lage, using as little as 

possible. In pla^e of a ^^rT->^ %. 

letter enclose a layer of 
cotton sprinkled with 
sachet-powder, fasten 
the envelope with seal- 
ing-wax as in an ordi- 
nary letter. Address it 
with pen and ink, to 
the one for whom it is 
intended. Print on it, 
likeastamp, "Christmas, December 25," and fasten a cancelled 







a/t/^*^ 



Fig. 218.— Sachet. 



324 



Winter, 



stamp, taken from an old letter, on one corner. The finished 
sachet is shown in Fig. 218. 

A Book-mark. 

Cut out the corner of a full-sized, lin- 
en-lined envelope, making the piece four 
inches long, and one and a half inches 
wide. Write on one side with pen and 
ink, or paint the lettering in color, ** A 
Fresh Mind Keeps the Body Fresh." 
The book-mark will fit over the book-leaf 
like a cap, and is excellent for keeping the 
place. Fig. 219. 

A Scrap-bag. 

Scrap-bags have been fashioned in 
rig.2i9._Book.inark. ^^^^ shapes and sizes, and of all sorts of 

material, still it remains to be shown in what manner Christmas 




1 
' 1 




















1 ' 
































1 



Fig. 220.— Pattern of Scrap-bag. 

cards may add in decoration and beauty to these useful articles. 



Christmas Festivities. 



325 



From your collection choose four cards of the same size, then 
on a piece of bright silk or cloth sew the cards at equal dis- 
tances apart, as in Fig. 220, stitching 
them around the edges on the sewing- 
machine. At the dotted line fold over 
the top of the bag as if for a hem, mak- 
ing the narrow fold lap just cover the 
upper edge of the card ; stitch this down 
to form a binding. 

After joining the bag at the dotted 
lines on the sides, gather the bottom up 
tight and fasten to it a good-sized tassel ; 
then sew on each side a heavy cord 
with tassels placed where the cord joins 
the bag, as seen in Fig. 221. The cord 
and tassels of the example were made of 
scarlet worsted. 

A Walnut-shell Turtle. 

For an ornament to be used on a 
pen-wiper, or simply as a pretty toy, rig. 221.— scrap-bag. 

^n, ^ the little turtle is appropriate. It is made 

^r \r<N °^ ^^^^ ^^ English walnut, v/hich forms the 

cd^ X^ turtle's back or shell, glued on a piece of 

>S„^_^,..^-^ card-board cut after 

the dias^ram Pfiven 

Fig. 222.— Pattern of Turtle. ^ ^ 

in Fig. 222. Paint 
the card-board as nearly as possible the 

color of the shell, and the eyes black, rig. 223._wainut.sheii Turtle. 
When perfectly dry glue the shell se- 
curely to the card-board, bend down and out the feet a little, 
in order to make the turtle stand ; bend the head up, and the 
tail down, as in Fig. 223. 





326 



IVinter. 



Here are some home-made toys which the children can 
make to give to one another. 



Miss Nancy. 

Miss Nancy (Fig. 226) is fashioned from a piece of pith 
taken out of a dried cornstalk. Cut away the stalk until the 
pith is reached ; then take a piece of the pith, about six inches 





Fig. 224. Fig. 225. 

Manner of Making Miss Nancy. 



Fig. 226 Miss Nancy. 



long and whittle out one end to resemble a head as in Fig. 224, 
draw a face on the head with pen and ink, and glue half of a 
lead bullet on the lower end of the pith (Fig. 225). Make Miss 
Nancy's costume of a skirt, composed of some bright-colored 
Japanese paper, a shawl made of a piece of soft ribbon or silk, 
and a cap of white swiss. The peculiarity of the little lady is 
that she insists upon always standing upright, no matter in 
what position she is placed. 



Christmas Festivities. 



327 



A Soft Ball. 



A very pretty and safe return ball for the little ones to 
play with may be made of paper (Fig. 227), which, being 
soft, precludes all danger of " thumps and 
bumps." 

Take a piece of newspaper, and, using 
both hands, roll it and fold it into some- 
thing of the required shape. Then place 
it in the centre of a square piece of bright- 
colored tissue paper ; take the four corners 
of the tissue-paper up to the centre of the 
top of the ball, fold them over, also fold 
and smooth down what fulness there may 
be ; next place a small round piece of gold, 
silver, or some contrasting colored paper 
on the top of the ball. Secure all by wind- 
ing a string around the ball, making six 
or eight divisions ; tie a piece of elastic to 
the string where it crosses on the top of 
the ball, then paste over this a small arti- 
ficial flower. In the other end of the elas- 
tic, make a loop to fit over the finger, or 
tie on it a small brass ring. 

If a tiny sleigh-bell be placed in the 
centre when the ball is being made, it will give a cheerful little 
tinkling noise whenever the ball is thrown. 




Fig. 227.— Paper Ball. 



A Lively Rooster. 



To make the rooster (Fig. 228), cut out of stiff cardboard 
Figs. 229, 230, 231, and 232. Tie on Figs. 229 and 230 each a 
piece of string seven and one-half inches long. Then attach 



328 



Winter^ 



the head and tail to the body by running a string through holes 
at A in Fig. 230 and A in Fig. 231, and another through B in 
Fig. 229 and B in Fig. 231. Bring the head and tail up close 
to the body and fasten the ends of the strings down securely 




Fig. 228.— The Rooster. 

with court-plaster or pieces of paper pasted over them. Bend 
Fig. 231 at dotted line C ; then on the space marked E, paste 
the portion of Fig. 232 marked E after bending it at dotted line 
O. Again bend Fig. 232 in the same direction at dotted line 



Christmas Festivities. 



329 



P, and paste it across the space marked P, on Fig. 231. When 

all is fastened together, and the paste perfectly dry, paint the 

rooster to look as hfe-like as possible. Tie the strings of Figs. 

229 and 230 together four inches 

from where they are fastened on, 

then again about three inches lower 

down, and attach a weight to the 

ends. A common wooden top, with 

a tack in the head (Fig. 233), will 

answer the purpose nicely. To bring 




Fairy Dancers. 



the rooster to life, place him on the mantel-piece, with a book 
serving as a weight on the projection of Fig. 232, swing the top 
and he will move his head and tail in the most amusing manner. 



330 



Winter, 



Fairy Dancers. 

Among the gifts made by little hands, a box, containing a set 
of fairy dancers, will be a most novel and welcome addition. 

These little figures, when placed 
on the piano, will move as soon 
as the keys are touched, danc- 
ing fast or slow in perfect time 
to the music. They may all be 

made to resemble fairies as in Fig. 234, 

or a famous collec- 
tion of figures in 

the costumes , of 

different periods 

in history will be 

equally pretty and 

perhaps more in- 
teresting. Ladies 

in kirtles and tu- 
nics, gentlemen in 

slashed doublet 

and hose of the 

Tudor times, 

Queen Ehzabeth's 

starched ruffs and 

farthingales, etc. 

All these dresses 

can be more easily 

copied from pict- 
ures of the period than from any written ^ig. 235.--Pattern of Fairy 

^ ^ Dancer. 

description of them. The materials used 

for the costume must be of the lightest kind, for a heavy dress 

will weigh down the dancer and hamper its movements. To 




Fig. 234.— A Fairy Dancer. 




Christmas Festivities. 



331 



make the fairy (Fig. 234) trace Fig. 235 on cardboard and cut 
it out, sew a piece of bonnet-wire down the back, as shown in 
diagram. Mark the slippers on the feet with 
ink or black paint, select a Christmas or adver- 
tising card representing a child, with a head 
of a suitable size, cut the head out and paste 
it on the fairy. 

Gather two short skirts of tarlatan, 
make a waist of the same, sew with a 
few stitches to the doll, and cover the 
stitches with a sash of bright 
colored tissue paper ; add a 
strip of tarlatan for a floating 
scarf, gluing it to the uplifted 





Fig, 237. Fig. 238. 

Chinaman's 

Queue. 

The wire on 



Fig. 236. — Pattern of Chinaman. 

hands. Bend back the 
piece of cardboard pro- 
jecting from the foot, 
and glue to it a small 
piece of bristle brush, 
the doll should be long enough to pass 
tightly around the brush, thus making 
it more secure. 

If you would like to have the 
Chinaman (Fig. 239) in your troupe of 
dancers, trace on cardboard Fig. 236, ^^e- 239 -The ohinaman. 

draw a face with slanting eyes, or paint it ; then take several 
strands of black thread and tie them together in the centre with 




332 



Winter. 




as Fig. 241. - Pat- 
tern of China- 
man's Hat. 



another piece of thread (Fig. 237), bring the ends down together 
(Fig. 238), braid them and sew the braid to the back of the 

Chinaman's head (239). Cut 
a loose sacque from pattern 
Fig. 240, fold at the waved 
lines and sew together at 
the dotted lines ; cut an 
opening for the head 
seen in pattern. Make the 
hat of dark green paper cut 
in the form of Fig. 241 , and 
crimp it from the centre 
(Fig. 242). Sew the hat to 
the back of the Chinaman's 
head, bend the cardboard 
projection at the feet and glue it to a piece of brush. 

Butterflies of brilliant hues, all hovering and circling, may- 
take the place of the fairies, or they may mingle with them in 
the dance, presenting a scene indeed fairy-like. To make a 





Fig. 240, — Chinaman's Sacque. 



Fig. 242. — Chi- 
naman's Hat. 




^.z-^^- 



Butterflf Pattern. 



butterfly, trace the pattern given in Fig. 243, on 
brilliantly colored paper. Form a body by roll- 
ing a small piece of beeswax between the fingers until it as- 
sumes the desired shape (Fig. 244) ; then attach the wings to 
the body by softening the wax and sticking them to it. Wax 




Butterflf. 



Christmas Festivities. 



333 



a piece of black thread to stiffen it, and make a knot in each 
end (Fig. 245), bend this in the middle and stick it on to the 
head to form the antennae (Fig. 246). Fasten one end of a very 
fine wire securely in the middle of the wax body, and wrap the 
other end around a small piece of brush as seen in Fig. 247. 
A number of these butterflies placed on the pianoforte will 
move, bend and sway with the music as if endowed with life. 

Toys, also, which are small and light enough, can be made to 
*' trip the light fantastic" in time to the music. 

Select those most suitable and glue them to pieces of brush 
in the way described for the other dancers. 

The children, generous little souls, always long to do their 
part towards making Christmas presents, and we hope that the 
suggestion we have offered will help them to manufacture, 
without other aid, many little gifts which their friends will 
prize the more highly for having been made by the loving little 
hands. 




CHAPTER XXX. 




AMUSEMENTS AND GAMES FOR THE CHRISTMAS 

HOLIDAYS. 

WINTER passed in-doors would be irksome in- 
deed for a healthy, hearty girl, and even the 
most delicate are the better for an outing now 
and then. The keen northwest wind, the bit- 
ing frosts, the crisp atmosphere and the glisten- 
ing ice and snow are not without their attrac- 
tions, and we hope that no American girl will 
neglect the opportunities this time of the year 
affords for healthy, enjoyable out-door pas- 
time. It is well to follow the example of our Canadian sisters, 
and, clad in garments warm and appropriate, indulge in coast- 
ing, tobogganing, skating, sleighing, and walking. 

The country, wrapped in its winter mantle, is very attractive. 
Many of our small animals and birds that city people are apt to 
associate only with a summer landscape, are to be found abroad 
in mid-winter, and upon a bright sunny day the birds are not 
only to be seen, but heard twittering and even singing in the 
hedges ; they do not feel the cold and are enjoying themselves 
heartily. The reason the birds and wild creatures are so com- 
fortably content, is because they are prepared for the weather, 
their clothing is not only soft and warm, but fits them perfectly, 
without interfering with their movements. Take a lesson from 
them, girls, dress as becomingly as you choose, the birds always 
do that, but do not wear thin-soled shoes or anything that is 



Christmas Holidays, 335 

uncomfortable ; wrap up warm and you can enjoy yourself out 
of doors in the coldest weather just as well as the birds. The 
cold winds will only bring the roses to your cheeks^ and the 
keen, invigorating air, health and suppleness to your body. 

We do not think any person ever learned to skate, coast, or 
walk on snow-shoes from reading the directions that can be 
given in a book. It is for that reason we have no chapter 
devoted to these sports and not because we do not believe in, 
and enjoy them, too. Therefore we will direct our attention 
to indoor sports, for they can be learned in this way and are 
quite as important as the others in filling put the list of winter 
amusements. 

There are a great many days in winter when it is so stormy 
and disagreeable out-doors, one is glad enough to have the 
shelter of a roof and the warmth of a fire ; these are the days 
and evenings when in-doors games are in demand, and during 
the holiday season, when work has been put aside, and you 
have nothing to do but enjoy yourself, any new diversion is 
always welcome. It is here then that we will insert the 

New Game of Bubble Bowling. 

When the game of Bubble Bowling was played for the first 
time, it furnished an evening's entertainment, not only for the 
children, but for grown people also ; even a well known gen- 
eral and his staff, who graced the occasion with their presence, 
joined in the sport, and seemed to enjoy it equally with th^ir 
youthful competitors. Loud was the chorus of " Bravo ! " and 
merry the laugh of exultation when the pretty crystal ball 
, passed safely through its goal ; and sympathy was freely ex- 
pressed in many an ** Oh ! " and /' Too bad ! " as the way- 
ward bubble rolled gayly off toward the floor, or, reaching the 
goal, dashed itself against one of the stakes and instantly van- 
ished into thin air. 



336 



Winter. 



The game should be played upon a long, narrow table, made 
simply of a board about five feet long and eighteen inches wide, 
resting upon high wooden '* horses.'' On top of the table, and 
at a distance of twelve inches from one end, should be fastened 
in an upright position, two stakes, twelve inches high ; the 
space between the stakes should be eight 
inches, which will make each stand four 
U^^K^ inches from the nearest edge of the 
table. When finished, the table 
must be covered with some sort 





Bubble Bowling. 

of woollen cloth ; an old shawl or a 
breadth of colored flannel will answer 
the purpose excellently. Small holes 
must be cut at the right distance for the stakes 
to pass through. The cloth should be allowed 
to fall over the edge of the table, and must not be 
^/^^^===/ fastened down, as it will sometimes be necessary to 
remove it in order to let it dry. It will be found more conveni- 
ent, therefore, to use two covers, if they can be provided, as 
then there can always be a dry cloth ready to replace the one 
that has become too damp. The bubbles are apt to stick when 
they come upon wet spots, and the bowling can be carried on 
in a much more lively manner if the course is kept dry. Each 
of the stakes forming the goal should be wound with bright 



Amusements and Games, 337 

ribbons of contrasting colors, entwined from the bottom up, 
and ending in a bow at the top. This bow can be secured in 
place by driving a small brass-headed tack through the rib- 
bon into the top of the stake.' If the rough pine legs of the 
table seem too unsightly, they can easily be painted, or a 
curtain may be made of bright-colored cretonne — any other 
material will do as well, provided the colors are pleasing — and 
tacked around the edge of the table, so as to fall in folds to the 
floor. The illustration shows the top of the table, when ready 
for the game. 

For an impromptu affair, a table can be made by placing a 
leaf of a dining-table across the backs of two chairs, and cover- 
ing it with a shawl ; lead pencils may be used for the stakes, 
and they can be held in an upright position by sticking them 
in the tubes of large spools. This sort of table the children 
can arrange themselves, and it answers the purpose very nicely. 
The other things to be provided for the game are a large bowl 
of strong soapsuds, made with hot water and common brown 
soap, and as many pipes as there are players. 

The prizes for the winners of the game may consist of 
any trinkets or small articles that fancy or taste may sug- 
gest. 

Bubble Bowling can be played in two ways. The first 
method requires an even number of players, and these must 
be divided into two equal parties. This is easily accomplished 
by selecting two children for captains, and allowing each cap- 
tain to choose, alternately, a recruit for her party until the 
ranks are filled, or, in other words, until all the children have 
been chosen ; then, ranked by age, or in any other manner 
preferred, they form in line on either side of the table. A pipe 
is given to each child, and they stand prepared for the contest. 
One of the captains first takes her place at the foot of the table, 
where she must remain while she is bowling, as a bubble pass- 



338 IVinter, 



ing between the stakes is not counted unless blown through the 
goal from the end of the table. 

The bowl of soapsuds is placed upon a small stand by the 
•side of the bowling-table, and the next in rank to the captain, 
belonging to same party, dips her pipe into the suds and blows 
-a bubble, not too large, which she then tosses upon the table in 
front of the captain, who, as first bowler, stands ready to blow 
the bubble on its course down through the goal. Three suc- 
cessive trials are allowed each player ; the bubbles which break 
before the bowler has started them, are not counted. 

The names of all the players, divided as they are into two 
parties, are written down on a slate or paper, and whenever a 
bubble is sent through the goal, a mark is set down opposite 
the name of the successful bowler. 

When the captain has had her three trials, the captain on 
the other side becomes bowler, and the next in rank of her own 
party blows the bubbles for her. When this captain retires, 
the member of the opposite party, ranking next to the captain, 
takes the bowler's place and is assisted by the one whose name 
is next on the hst of her own side ; after her the player next to 
the captain on the other side ; and so on until the last on the 
list has her turn, when the captain then becomes assistant and 
blows the bubbles. 

The number of marks required for either side to win the 
game, must be decided by the number of players ; if there are 
twenty — ten players on each side — thirty marks would be a 
;good limit for the winning score. 

When the game has been decided, a prize is given to that 
member of the winning party who has the greatest number of 
marks attached to her name showing that she has sent the bub- 
ble through the goal a greater number of times than any player 
on the same side. Or, if preferred, prizes may be given to 
every child belonging to the winning party. The other way in 



Amusements and Games. 339 

which Bubble BowHng may be played is simpler, and does not 
require an even number of players as no sides are formed. 

Each bowler plays for herself, and is allowed five succes- 
sive trials ; if three bubbles out of the five be blown through 
the goal the player is entitled to a prize. The child acting as 
assistant becomes the next bowler, and so on until the last in 
turn becomes bowler, when the one who began the game takes 
the place of assistant. 

When the evening lamps are lighted and the young folks, 
gathered cosily around the cheerful fire, begin to be at a loss 
how to amuse themselves, let them try the game of 

Biographical Nonsense. 

A paper must be written by one of the players which will 
read like the following : 

The name of a noted man. 

A date between the flood and the present year. 

The name of a noted man. 

A country. 

The name of some body of water or river. 

Some kind of a vessel. 

A country. 

A country. 

The name of a school. 

A city. 

A city, town, or country. 

A city, town, or country. 

A number. 

The names of two books. 

The name of one book. 

A wonderful performance. 

The name of a well-known person. 



340 Winter. 



A profession or trade. 

A term expressing the feeling entertained for another per- 
son. 

A term descriptive of someone's appearance. 

A word denoting size. 

A term describing form. 

A color. 

A word denoting size. 

The name of an article of some decided color. 

The name of any article. 

The name of any article. 

A number of years. 

This paper is to be passed to each member of the party who 
in turn will fill up the blanks left, with the words, terms, and 
names indicated. 

When the blanks have been filled, one player must read the 
following, and another supply the words, when she pauses, from 
the paper just prepared, being sure to read them in their true 
order. 

A BIOGRAPHY. 

was born in the same year when — dis- 



covered , by sailing through the in a . His 

father was a native of ; his mother of . He was 

educated at , in the city of . His first voyage, 

which was a long one, was from to •. He wrote 

three books before he was years of age. They are 

•, and . He performed the miraculous feat of 

with . He was a great , and one we shall 

ever . In appearance he was being rather ■ 



of stature. His nose was , his eyes , his mouth 

, and hair the color of adorned his head. He 

invariably carried in his hand a and a , by which 



Amusements and Games. 341 

he was always known, and with which he is represented to this 

day. He died at the advanced age of . 

The ridiculous combinations found in this game make it 
very funny. ■ 

Comic Historical Tableaux 

are very amusing, and being impromptu require no preparation 
beforehand. 

As in charades, the company must divide into two parties. 
But instead of acting as in charades, one party decides what 
event in history they will represent, and then they form a tab- 
leau to illustrate the event, making it as ridiculous as possible. 
The other party must try and guess what the tableau is ; if they 
are successful, it is their turn to produce a tableau, if not, the 
first party must try another subject, and continue to do so until 
the subject of their tableau is correctly guessed. 

We will give a few suggestions for the tableaux. 

BALBOA DISCOVERING THE PACIFIC OCEAN. 

Place a pan of water on the floor in plain sight of the audi- 
ence ; then let someone dress up in a long cloak and high- 
crowned hat to personate Balboa, and stand on a table in the 
middle of the floor, while the rest of the performers, enveloped 
in shawls, crouch around. When the curtain is drawn aside, 
Balboa must be seen looking intently through one end of a tin 
horn, or one made of paper, at the pan of water. 

NERO AT THE BURNING OF ROME. 

Nero, in brilliant robes made of shawls, sits on a table, sur- 
rounded by his courtiers, who are also in fantastic costumes. 
Nero is in the act of fiddling, his fiddle being a small fire shovel, 



342 



Winter, 



and the bow a poker. On the floor in front of the group is 
placed a large shallow pan or tray, in which is set a small 
house, which has been hastily cut from paper. A lighted match 

is put to the paper house 
just as the curtains are 
parted. 

These two sugges- 
tions will no doubt be 
sufficient to show what 
the tableaux should be 
like and we need give 
no further illustrations. 

Living Christmas 
Cards. 




To impart seeming 
life to the little figures 
painted on the Christmas 
cards, is a performance in- 
tensely amusing to the lit- 
tle ones. A moving toy whose 
actions are life-like is always of great 
interest ; but when a little flesh-and- 
blood head is seen nodding and twisting 
upon the shoulders of a figure painted on a 
card, the children fairly shout with delight. 
Here is the method of bringing life into the bits of paste- 
board. 

Select cards with pretty or comical figures, whose faces are 
the size of the ends of your first or second finger. Carefully 
cut the face out of a card ; then with ink mark the features on 
your finger, and put it through the opening, as in Fig. 248. 
Place on this little live head a high peaked tissue-paper cap, and 



Fig. 248.— Manner of Hold 
ing Card. 



Amusements and Games. 



343 



the effect will be exceedingly ludicrous (Fig. 249). A little 
Santa Claus who can really nod and bow to the children will be 
very amusing, and there are quite a number of Christmas cards, 
which portray the funny, jolly little fellow. 

Floral cards may have nodding fairies peeping out from 
among the petals of the flowers, whose heads are X crowned 
with queer little fairy caps, as in Fig. 250. If j| among 
your collection you 
have a card with a 
picture of a house on 
it, it will be amusing 
to thrust a little head 
wearing a night-cap, 
out of one of the win- 
dows. Round holes 
will, of course, have 
to be cut in the cards 
wherever the heads 
are to appear. 

Still another way 
of managing these 
living puppets is to 
cut in a piece of card- 
board, five inches 
long and two inches 
wide, three round 
holes a little more 
than half an inch 
apart. Sew around 
the edge of the card- 
board a gathered curtain of any soft material six inches deep. 
Sketch faces on three of your fingers, pass them under the 
curtain and through the holes in the cardboard. The cur- 




Fig. 249 Live Head with Peaked Gap. 



344 



Winter, 



tain will fall around and conceal your hand, leaving the three 
heads appearing above (Fig. 251). On these heads place any- 
kind of head-dress you choose, making them of paper; or 




Fig. 250 — Nodding Fairies. 

caps of white swiss look quaint, and wee doll hats may be 
worn. 

It is best to use a little mucilage or paste in fastening the hats 



Amusements and Games. 



345 



on, that there may be no danger of their falling off with the 
movement of the fingers. 

The hair may be inked, or little wigs made of cotton can be 
used. 




7f'|'ff[f»l'1ll'l«(|[i|»|ii|'''l 





Fig. 251,— Living Puppets. 

If the little faces are painted with water colors, giving color 
to the cheeks and lips, the life-like appearance will be enhanced. 

These little personages can be made to carry on absurd 
•conversations, and a great deal of expression be given to the 
bobbing and turning of their heads. One person can easily 
manage the whole thing, and entertain a roomful with the per- 
formance of the living puppets. 



CHAPTER XXXI. 



NEW YEAR'S AND A LEAP YEAR PARTY. 




earliest recollection of New 
Year's day is of being 
awakened at midnight by 
the clangor of the fire 
bells, and the ringing of 
the church bells, as they 
swung and rocked in their 
high steeples and cupolas, 
shouting, Happy New 
Year ! from their brazen throats to all the sleeping town. Not 
being thoroughly conversant with bell language, I was very 
much alarmed because they seemed to say " Come, get up — • 
Come, get up — House on fire — House on fire ! " but, upon 
opening my eyes, I was assured that they were ringing in the 
New Year, and, as I again fell asleep, the bells were saying 
distinctly, ''Wish you Happy New Year — Wish you Happy 
New Year." 

Next day the table was decked with flowers, and was laden 
with roast turkey, fruits, salads, and mince-pies. Oh, my ! what 
delicious mince-pies they were ! None since have ever tasted 
as good as those made and baked by my grandmother. 

I often wonder if the next generation of grandmammas will 
make such cookies, mince pies, and doughnuts as ours did ; 
but this was in Kentucky, and you know that we still observed 



348 IVinter. 



the old-fashioned customs, and all day long the gentlemen came 
dropping in by twos and fours, and such handshaking and 
laughing, and such courtly compliments, and such a bowing and 
a wishing of Many Happy New Years, it does me good to think 
of. Who knows but that so many kind v/ishes of a long and 
happy life, sincerely given, may really help to bring it to pass. 

Small as I was at the time, and little as I understood the 
customs or conversation, the spirit of the whole day was intel- 
ligible and appealed to the little child, perhaps more forcibly 
than to the grown-up people. 

It is really too bad that the crowded states of our large cities 
tend to lead to the gradual decline of the custom of New Year's 
calls, so that now many people confine themselves to sending 
and receiving cards, making the always stiff and formal bits of 
engraved pasteboard, do all the calling and receiving ; but 

New Year's Parties 

are not out of date, so we will have one on New Year's Eve, be- 
cause then young and old are privileged to sit up all night, that 
is, until after twelve o'clock midnight, and have all the fun pos- 
sible. Let us begin our frolic with a 

Pantomime of an Enchanted Girl. 

For this a damp sheet must be fastened up across the room 
or between the folding doors of the parlor. First, fasten the 
corners of the sheet, next, the centre of each of the four sides, 
in order that the cloth may be perfectly smooth ; then place a 
lighted candle on the floor, about four or five feet from the cen- 
tre of the curtain. When the lights in the room occupied by 
the audience are turned out, leaving it in total darkness, so the 
shadows of the actors behind the curtain may be seen on the 
screen, someone, standing outside of the curtain and facing the 



New Year's Party. 349 

audience, should explain or relate the story of the play : of how 
a young girl, while walking out on the last day in November, 
meets Halloween, who presents her with three gifts to try her 
fortune, and how, when she is about to do so, a witch enchants 
her, etc. After the story is finished, and a lively overture has 
been performed on some musical instrument, the pantomime is 
played as follows : 

The young girl personating the enchanted one, comes gayly 
forward from the side, when almost across the curtain she meets 
Halloween, who approaches from the opposite side, arrayed in 
short dress, with wings made of newspaper folded fan fashion, 
and fastened on the shoulders ; in her hand she carries a cane 
with a silhouette of a cat, or two or three stars and a crescent cut 
of stiff, brown paper and pasted on the end ; the cane is so held 
that the profiles of the figures are kept toward the curtain. 
Seeing this queer being the young girl clearly demonstrates, by 
her actions, that she is alarmed. ' When Halloween quiets her 
fears, by surely and plainly indicating with slow movements of 
the head, and downward motions of the arms that no harm is 
intended, they shake hands ; then Halloween shows the maiden 
three gifts, an apple, a hand-mirror, and an unlighted candle. 
Before presenting them she illustrates by gestures, the use to be 
made of each. Holding the mirror in front of her face, she bites 
the apple, then looks quickly around, as if expecting to see 
someone, and, again holding up the mirror in one hand and the 
candle in the other, she takes a few steps backward, when a boy 
enters by jumping over the light, which gives the appearance of 
his having fallen down from the sky, Halloween looks around, 
and the boy quickly disappears In the same manner as he came. 

All this time the girl stands transfixed, with her hands raised 
and all the fingers spread out in astonishment ; she receives the 
presents which are given with many nods and gestures. As Hal- 
loween walks away the fortune-seeker turns and watches her 



350 Winter. 



with a telescope made of a roll of paper she finds at her feet on 
the floor. The maiden then proceeds to examine the gifts ; as 
she takes up the apple and mirror, her hand is stayed by a 
witch with flowing hair, who has approached unperceived, 
carrying under one arm a broom, and wearing on her head an 
ordinary hat with a piece of newspaper rolled up and pinned on 
to form a peaked crown. She motions to the girl to be seated ; 
then stands over her and makes passes in the air, and taking up 
her broom from the floor makes grand flourishes and departs 
walking back towards the candle, which causes her shadow to 
grow larger and larger. The poor girl looks anxiously around 
and discovers she has been enchanted, for there are three girls 
instead of one; this efl'ect is produced by two more lighted 
candles being placed on the floor on either side of the first can- 
dle, and every movement the girl makes is mimicked by her 
other selves. The candles are removed and the Old Year in- 
stantly appears, his figure bent, a piece of fringed paper pasted 
on his chin for a flowing beard, and carrying in his hand a cane 
with a piece of stiff* paper fastened on to represent a scythe. 
Discovering him the girl runs forward to tell her sorrows, and 
finds that it is only when alone that she is enchanted, for when 
she attempts to point out her other selves they have dis- 
appeared ; making many gestures she looks here and there for 
them, but in vain, then as the Old Year leaves she bids him a 
sorrowful adieu. Again alone, the facsimiles reappear and she 
grows desperate, so do the other two selves, she throws her arms 
about, skips, jumps, and dances wildly around, the other selves 
do likewise, and at the same time they are made to pass and 
repass her, by two persons taking up the two extra lights, and, 
keeping the lights facing the curtain, walking back and forth, 
passing, and repassing each other but never stepping in front of 
the candle on the floor. In the midst of the dancing the two 
extra candles are taken away and immediately the little New 



New Year's Party. 351 

Year enters, crowned with a paper star and wearing wings of 
paper. The young girl rushes to meet the New Year with a 
hearty greeting, she then tells him of her enchantment, counting 
the three selves by holding up the first finger of the right hand 
three times in succession, and while the New Year makes gest- 
ures that indicate advice the maiden listens with her hand to 
her ear, and, promising by signs to be a good girl, she kneels 
down, and the httle New Year raises both hands above her 
head, then, kissing her hand to the maiden, departs. 

The glad New Year has disenchanted her, she carefully 
looks this way and that, but seeing all is well she tosses her 
head, dances around, makes a courtesy, kisses both hands to 
the audience and disappears. 

When the play is over, and just as the clock strikes twelve, 
the party can instantly change its character if it is leap-year 
and become a 

Leap-Year Party 

for the remaining hour or so, thereby creating a great deal 
more merriment and sport ; the novelty of the fact that the girls 
exchange places with the boys makes everything appear 
strange. And when the music commences for dancing the 
girls look from one to another, no one at first having the cour- 
age to invite a partner to dance, so unaccustomed are they to 
even the thought of such a thing. The boys of course laugh, 
and make no move to assist their timid, would-be partners in 
the part they must play, but quietly await the expected invita- 
tion. When, however, someone takes the initiative step, the 
others follow, and all goes merrily. 

The supper presents a new phase, but here the girls do their 
part perfectly, providing all the boys with a plentiful repast, and 
each one is made to feel that his presence is necessary to the suc- 
cess of the party, thereby insuring a happy, pleasant time for all. 



352 Winter, 



In giving a leap-year party it is very essential that all the 
guests understand perfectly that the idea of the entertainment 
is to have the girls take upon themselves all the duties and 
courtesies properly belonging to the boys, and that the boys 
shall wait for an invitation before dancing, promenading, or 
partaking of refreshments, and that a boy should not cross the 
floor unattended, but wait for some fair friend to escort him. 
The girls are at liberty to go and come as they like, though they 
must remember not to leave a partner standing after the dance 
is over, but politely conduct him to a seat, and the girls must 
also endeavor to make the party pleasant and agreeable to all. 
The chaperons, of course, should have charge of the boys dur- 
ing the entertainment. 

The leap-year party need not necessarily be a dancing 
party, as any social gathering can take the form of a leap-year 
party. 

When an entertainment is given on the eve of a new leap- 
year, with a view to dancing the old year out and the new year 
in, just as the clock strikes twelve the party can immediately 
change into a leap-year party as described, or should the New 
Year be a common year, then as the time flies and the hands 
of the clock approach the hour of twelve all are on the qui vive 
to be the first to have the pleasure of greeting their friends with 
a Happy New Year. 







CHAPTER XXXIL 
HOME GYMNASIUM. 

VERYONE must exercise to keep healthy 
and strong, for life is motion and activ- 
ity. It is natural to be well and happy,, 
and to keep so we must exercise all our 
muscles, as well as our moral and intel- 
lectual faculties, or they will dwindle 
and wither. The arm of the Hindoo 
devotee, not being used, at length be- 
comes completely paralyzed, and fish in the Mammoth Cave 
having no use for eyes pass their life without them ; so we find 
that iLse is the foundation of all things, otherwise they would 
cease to exist ; then, girls, it lies within your power to become 
stronger and more graceful each day by regular and graduated 
bodily exercise, which Avill bring life and energy to every part 
of your system by causing the blood to circulate freely through 
all the body. 

There are some simple methods of carrying this into effect 
in the most agreeable and salutary manner, but the exercises 
must be very light at first, and as you advance they may be 
increased a little each time, but always stop before you feel 
fatigued, for when the calisthenics cease to give pleasure it is 
doubtful if they are beneficial. 

The best time for exercising is in the morning after having 
partaken of some light refreshments, though any time will do 
23 



Home , Gymnasium, 355 

except directly after hearty meals. Try and have a regular 
time set apart each day for your physical culture. Commence 
by exercising five or ten minutes, then for a little longer period 
next time, and so on until you can exercise with ease for half an 
hour or longer. You will feel refreshed, invigorated, and better 
prepared for the duties and pleasures which await yoti. Your 
clothing must not incommode the free action of the body, and 
it is essential that it be comfortable. What is suitable for lawn 
tennis is also well adapted for the gymnasium. An ordinary 
bathing-dress answers the purpose very well, as it is made for 
exercise. 

The Egyptian water-carrier, with the jug of water poised so 
prettily on her head, and her figure so straight and beautiful, 
has always challenged admiration ; her carriage is dignified, 
erect, and graceful, something worth striving for, especially 
when we have the certainty of success if we will only be faith- 
ful and persevering. The peasantry of foreign countries who 
carry all their burdens balanced on their heads have their 
reward in healthy, strong, straight figures, even in old age 
they do not stoop. Witness the emigrants landing at Castle 
Garden who carry their possessions done up in huge bundles 
on their heads with the utmost ease ; of this class, three gen- 
erations — a grandmother, mother, and grown daughter — with 
baggage of the same weight on their heads, were lately seen 
at a New York ferry, each equally upright, strong, and vig- 
orous. 

A good straight back is an excellent thing ; and when the 
head is properly carried and all the movements are buoyant 
^nd elastic, then we may walk as it was intended we should, 
every step bringing a glow to the cheek and a sparkle to the 
eye. It requires only a few minutes' regular daily exercise for 
any girl to attain a carriage equal to that of the Egyptian' 
water-carrier, and the only apparatus needed for 



356 



Winter. 



Exercise First 

is a roll of paper. Now stand with your heels together, toes 
out, and shoulders well back ; then place on your head the roll 
of paper ; if your position is not perfectly erect the roll will fall 
off; keep your chin straight and back against your neck, for it 
is the cJiin which determines the poise 
of the body. You cannot stand straight 
unless the chin is straight ; throw out 
your chin and your shoulders will stoop 
forward, have your chin straight and 
your back will be straight ; bear this in 
mind in all your exercises. Now walk, 
keeping the roll balanced on your head 
(Fig. 252). Practice this walking back 
and forth until you can do so without 
the paper rolling off; then try a tin cup 
full to the brim with water. Walk erect 
or the water will wash over, down on 
your head, and it will feel cold as it 
trickles through your hair ; soon, how- 
ever, you will be able to carry the cup 
of water with ease and no danger of its 
spilling. But do not discontinue the 
practice on that account ; try something 
else in its place, until you are able to 
carry anything you wish on your head 
with no fear of it falling. The exercise affords amusement, and at 
the same time you will be acquiring a beautiful, dignified, and 
graceful carriage. 

Exercise Second 

is for gaining agility, suppleness, quickness of eye, hand, and 
foot. Standing as far from the wall as possible, take a common 




Fig. 252. 



-Balancing a Roll of 
Paper. 



Home Gytnnasiuni. 



357 



rubber hand-ball and toss it against the wall, catching it as it 
rebounds (see illustration), and again toss it against the wall. 
Vary this by allowing the ball to strike the floor, catching it 
on the rebound ; then try keeping the ball in constant motion 
by using first one hand and then the other as a bat for return- 



c^ 



ing the ball to the wall. The exer- 
cise can also be changed by striking \^(^ 
the ball against the floor, and on its 
return bound again striking it, thus 
keeping it in motion. You will find 
that activity is necessary, and the 
work so quick that it will keep you 
on the jump all through the exercise. 

Exercise Third 

is with a broom-handle. Saw or cut 
the broom and smooth down the sharp 
ends of the handle, and it will be ready 
for use. Stand erect, heels together, toes 
out, chin well back and straight, so as to 
throw out and expand the chest. Now 
grasp firmly each end of the broomstick 
and bring it up over the head (Fig. 253) ; 
repeat this motion six or seven times ; 
then change by carrying the broomstick rig. 253.— Broom-handie 
over back of the head down across and 

back of the shoulders ; then up above the head again, repeat- 
ing this, and all other motions in your calisthenics, half a 
dozen times. Another exercise is holding the stick down in 
front of you with both hands and bringing it up over the head 
and down back of the shoulders without stopping. 

The side motion is made by grasping the broomstick at 
each end, holding it down in front of you, and swinging it side- 




358 IVinter, 



ways, thus bringing the right hand up when the left is down, 
^xv(\ vice versa. Another way is to hold the stick by both ends 
above your head and swing it from one side to the other, 
which will cause the right arm to come in contact with the 
right side of the head, while the left arm is extended out hori- 
zontally to the left. Next carry the stick back of and against 
the shoulders ; then swing it from right to left, which gives 
another side movement. Vary all the movements in as many 
different ways as you can think of. 

Exercise Fourth. 

Stand erect always when in position for exercising, accord- 
ing to the directions given— heels together, toes out, etc. Now 
allow your arms to hang naturally down at your sides, raise 
your heels, and stand on your toes ; now lower the heels and 
repeat the motion ; then close your hands tightly and raise 
your arms out sideways at right angles with your body, next up 
straight above your head, and down again to the level of the 
shoulders, then back down to your sides as at first. 

Again take position, close your hands tightly, and raise them 
up under the arms, bringing the elbows out to a level with the 
shoulders ; then bring your hands down at your sides again and 
repeat the movement vigorously ; resume position, firmly close 
your hands and carry them up to the shoulders, next extend 
them up straight above your head, down again to your shoul- 
ders, and back to the first position. A very good exercise is to 
extend both arms straight out in front of you, close your hands 
and bring them back to your chest, which will cause the bent 
elbows to project beyond yiour back. 

Exercise Fifth. 

Assume position, close your hands, and take one long step 
forward with your right foot, bend the right knee and stand 



Home Gymnasium. 



359 



with your weight resting on the right foot ; then extend your 

arms out sideways straight from the shoulders, now bring your 

hands together in front of you, still 

keeping the arms on a level with the 

shoulders, and while doing so throw 

the body back, straightening the 

right knee and bending the left so 

the weight of the body will rest on 

the left foot ; repeat this and vary it 

by taking one step forward with the 

left foot and going through with the 

same motions. 

Resume position, and place your 
hands on your hips, with your thumbs 
turned forward and fingers backward. 
Now take a long step forward with your 
right foot, throwing the weight on that 
foot, then back again in position, and in 
the same manner step forward with your 
left foot and back again ; next take a step 
backward with your right foot, resume 
position, and then with your left. 

Again stand with your hands on your 
hips, thumbs turned forward, and without 
bending your knees move the body, first 
bending it forward, then backward, and 
resuming an upright position, bend over to the right and to the 
left. 

Exercise Sixth. 

In this the broomstick is used for balancing ; hold it in an 
upright position, and first try balancing it on the palm of your 
hand ; then on the back of your hand, next on each of the fingers 
in succession, commencing with the first finger (Fig. 254) ; be 




Fig. 254.— Balancing 
Broom-handle. 



360 IVinter. 



cautious, and when the stick wavers do not let it fall, but catch 
it with the other hand, and again balance it. This is an inter- 
•esting, light, and diverting exercise, requiring all your attention, 
and, for the time being, your thoughts are concentrated on the 
effort to keep the broomstick properly balanced. 

Exercise Seventh. 

Pure blood means good health, and to purify the blood and 
keep the complexion clear it is essential that you breathe a 
sufficient quantity oi pure air, and you cannot take in a proper 
amount of air unless your lungs are wholly extended. So take 
position with your hands correctly placed on your hips ; then 
very slowly draw in your breath until your chest and lungs are 
fully expanded ; next slowly exhale your breath, and repeat 
the exercise. 

Exercise Eighth. 

Screw in two large, strong hooks in the woodwork on each 
side of the doorway ; place the hooks as far above your head 
as you can conveniently reach ; slide the broomstick in so that 
it will extend across the doorway and be supported by the 
hooks ; have the apparatus on that side of the doorway where 
it will not interfere with the opening and closing of the door, and 
be sure that it is perfectly secure before attempting to exercise ; 
-each time before commencing a new movement examine the stick, 
and be certain that it is not in any danger of slipping from the 
hooks. Unless you can be perfectly safe from liabihty to hurts 
or falls, do not include this in your list of exercises. 

For the first movement grasp the bar firmly with both 
hands and swing the body forward and backward, standing first 
on the toes, then on the heels ; next, still grasping the bar, raise 
up on your toes, then back again. Change the movements in 



Home Gymnasium. 



361 



as many ways as you like, but do not try anything that may 
strain or hurt you. Now screw in two more hooks, on either 
side of the woodwork, below the first ones, placing them about 
two feet and eight inches from the floor ; take the stick from 
its elevated position and shde it across the doorway so it will 
rest securely on the two lower hooks. Standing in front 
of it, grasp the bar firmly with both hands and try to raise 
yourself up, feet and all, from the floor by bearing your weight 
down on the bar ; then 
let yourself gently back 
again. When you have 
finished exercising, re- 
move the stick and put 
it away. 




Exercise Ninth. 

In the top part of 
the framework of the 
doorway fasten a very 
strong hook by screw- 
ing it into the wood 
then take a broomstick 
and, after shortening it 
so that when held in a 
horizontal position it will readily pass through the doorway, 
cut notches in each end and securely tie the two ends of a rope 
across the notches ; suspend this swing by slipping the centre 
of the rope over the hook in the doorway (Fig. 255); have 
the apparatus strong and firm, capable of any amount of wear 
and tear. Stand facing the stick, which should be at the height 
of the chest, and take hold of it with both hands ; now bend 
the knees until they are within a short distance of the floor, 



Fig. 255 — The Swing. 



362 Winter. 



then rise and repeat the exercise. Next, with both hands on 
the stick, take a long step forward with the right foot, throwing 
the weight on that foot; return to your position and go through 
the same exercise with your left foot. Try different movements 
which suggest themselves, and select those you like best. When 
not in use the swing can be slipped off the hook and put out of 
the way. 

Exercise Tenth. 

To develop a weak voice and make it clear and sweet, and to 
strengthen the lungs, reading aloud is an excellent exercise ; as 
it requires both mental and muscular exertion and performs a 
double duty, it should receive a full share of time and atten- 
tion. -Begin with something you are interested in, then you 
will find it much easier to read aloud than if you undertook a 
book or an article which might be full of merit, but lack interest 
for you. When commencing this exercise read only ten min- 
utes or less at a sitting, increasing the time as you practise and 
the reading grows less difficult. Do not be discouraged if your 
voice sounds a little husky while reading ; stop a moment, and 
then go on again. After a few trials you will have no more 
trouble in that way, for your voice will grow clear and distinct, 
and the exercise will become a great pleasure as well as an at- 
tractive, useful accomplishment. 

Let your reading matter be very choice and of the best ; do 
not condescend to waste your time on other writings. 

From the ten different exercises given, select those best 
adapted to your size, age, and liking, and practise them for a 
short time daily ; you can hardly realize the great advantage they 
will prove to be. In this way all parts of the system may be 
strengthened and harmoniously developed. But the constitu- 
tion cannot be hurried : all must be accomplished little by little,. 
Allow yourselves to be happy and merry; be ready to enjoy 



Home Gymnasium. 



363 



the little pleasures of life, and this, with kind and generous feel- 
ings for others, will do a great deal toward keeping you well 
and strong. 

Out-of-door exercise is always to be preferred to in-door 
when one has a choice. Walking, tennis, archery, horseback, 
and swimming are some of the athletic sports for girls, and they 
all have their attractions. But there are times when we are de- 
nied the pleasure of these pastimes, and then we are glad of a 
little exercise in-doors, which also affords enjoyment and recre- 
ation. 




CHAPTER XXXIII. 




A DECORATIVE LANGUAGE. 

HEN in olden times the warriors went 
around the country dressed in suits of 
clothes made by a blacksmith instead 
of a tailor, their hats were manufact- 
ured at the forge also, and had iron 
front doors that moved upon hinges. 
When danger was nigh these doors 
were closed, locked, and barred over 
the poor men's heads, leaving only a 
loop-hole or two for them to peep through. At such times in 
meeting Mr. Brown it was impossible to distinguish him from 
Mr. Smith, who was arrayed in like manner, and it might hap- 
pen that Mr. Smith was the last man in the world that one 
cared to meet, not being on speaking terms or some such 
reason. Well, as we were saying, there was no chance what- 
ever of telling one man from another unless he wore a dis- 
tinguishing mark of some kind. 

So to prevent such uncomfortable mistakes and to distin- 
guish friend from foe, every gentleman had to be marked and 
labelled, like an express package, so one might read as he ran, 
'* I am Earl Jenkins, of Thunderland, who married a Rhazor, of 
Stropshire." These names and addresses were not painted in 
words on their owners with a marking-brush, but worked and 
embroidered in translatable designs on cloaks, saddle-housings, 



A Decorative Language. 365 

and silken banners, or emblazoned on the shield they carried 
with which to meet the advances of their neighbors. Since that 
time our more recent ancestors in England have taken great 
pride in preserving and handing down from generation to gen- 
eration these distinguishing marks, as a guarantee to their chil- 
dren that they came of gentle birth, which is very interesting 
and gratifying for European girls, but American girls need 
nothing of the kind ; it is sufficient that we are Americans. 

Of course, some of us do take pleasure in knowing that our 
great-great-grandparents came over in the Mayflower, or that 
the name of an ancestor is among the signatures upon that Dec- 
laration of Independence which made such a stir a century ago, 
for that proves us to be Columbia's daughters. 

When there was no other method of distinguishing a man 
his label became a very important item ; so these family devices 
were reduced to a science and protected by law. 

The old countries' coats of arms may remain abroad, where 
they belong, but the ingenious scheme, that was gradually 
evolved, of picturing ideas, mottoes, and pretty sentiments we 
will adopt as our inheritance, with many thanks to our medi- 
aeval ancestors with the metallic clothes, who bequeathed them 
to us. 

We propose to revive enough of this neglected knowledge 
of chivalry to serve our purpose in suggesting a method of de- 
signing devices which will not only be artistic decorations, but 
to the initiated can be made to portray almost any sentiment 
or set of principles the artist may choose. 

The many uses to which these designs can be applied will, 
we hope, at once be seen by the quick-witted American girls, 
and we trust will interest the reader as much as they do the 
writer, who in this chapter can only give a few necessary, trief 
hints upon the subject, sufficient, however, to explain the appli- 
cation that can be made of this beautiful and perfect system of 



366 



Winter. 



Decorative Language. 

In the following directions anyone can learn how to make 
a device which will not only be a decoration, artistic in form and 
color,, but will at the same time express the peculiar traits, char- 
acteristics, and virtues of the friend for whom it is intended, or 
the precept, code, proverb, or creed of the designer. All tech- 
nical terms, as far as practicable, are discarded, but the rules of 
^^- y heraldry strictly adhered to, with such simplifi- 
cations as are necessary to render it intelligible. 



The Field. 



The surface on which the design is portrayed 
The Field. -^ ^^jjg^^ ^)^^ field. This may be of any shape ; 



Fig. 256, 

originally it was supposed to represent a warrior's shield, but 
you may use a circle, oval, square, diamond, or any other form. 

The Points 



on the surface of the 
design or object in 
Refer by numbers to 

1. Fess point. 

2. Honor point. 

3. Nombril point. 

4. Dexter chief point. 



shield locate 




the exact spot where a 
heraldry may be placed. 
Fig. 257. 



Fig. 257.— Points, 



Middle or chief point. 
Sinister chief point. 
Dexter base point. 
Middle base point. 



9. Sinister base point. 



Ifyou desire to place a flower on the fess point, you find 
that it means the exact centre of the shield, and so on. 

The devices take significance in accordance with the more 
or less importance of their position on the shield ; the honor 



A Decorative Language. 



367 



point holds the highest grade, next to it the middle or chief 
point, and the right or dexter side is of more importance than 
the left or sinister. 

The field may be divided, if desired, in any of the following 

Divisions, 

each of which has a significance, suggested generally by the 
form : 

Fig. 258, the Chief, occupying the top or head of the 



Fig. 258.— Chief. 



Fig. 259.— Fess. 



Fig, 260.— Parted per Fess. 



shield, indicates pre-eminence, main object, inteUigence, first 
principle. 

Fig. 259, the Fess, denotes cause and effect, the central 
band containing the means by which the ends, in the other 
spaces, are accomplished. 




Fig. 261.-Pale. 



Fig. 262.— Parted per Pale. 



Fig. 263.— Bend. 



Fig. 260 is a partition, and partakes of the meaning of the 
division, it is denoted by the term, p^irted per fess. 



368 



Winter, 



Fig. 261, the Pale, represents rectitude, uprightness ; also 
union^ the object in the central division uniting whatever occu- 
pies the dexter and sinister sides. 

Fig. 262 is parted per pale. 





u 



Fig. 264.-^Parted per Bend. 



Fig. 265.— Chevron. 



Fig. 266.— Cross. 



Fig. 263, the Bend, is auspicious, meaning prosperity, suc- 
cess. 

Fig. 264 is parted per bend. 

Fig. 265, the Chevron, is indicative of aid, assistance, support. 

Fig. 266, the Cross, suggests humility, devotion, patience, 
perseverance. 





Fig. 267.— Saltire. 



Fig. 268.— Pile, 



Fig. 269.— Canton. 



Fig. 267, the Saltire, a variation of the cross, is recognized 
as order, discipline. 

Fig. 268, the Pile, being in the form of a wedge, means 
penetration, incision, entering to divide or distribute. 

Fig. 269, the Canton, denotes an additional, separate idea 
or principle ; also some characteristic that is added to the orig- 
inal design. 



A Decorative Language. 



369 



Colors. 

These also have symbolical meanings. 

Fig. 270. — Gold or yellow is expressed in black and white 
by means of dots, and is used in the sense of wealth, ability, 
or knowledge. 

Fig. 271, — Silver or white is represented by a plain white 




Fig. 270.— Gold. Fig. 271.— Silver. Fig. 272.— Red. 

surface, and being the color of light, signifies brightness, pur- 
ity, virtue, innocence. 

Fig. 272. — Red, represented by perpendicular lines, means 
ardent affection, love. 

Fig. 273. — Blue is represented by horizontal lines ; like the 
color in the heavens, it is truth, freedom, eternity. 

Fig. 274. — Purple, represented by diagonal lines from sinister 






Fig. 273.— Blue. Fig. 274.— Purple. Fig. 275.— Green. 

chief to dexter base, being the royal color, is understood as 
authority, power, grandeur. 

Fig. 275. — Green is represented by lines running diagonally 
across the shield from dexter chief to sinister base. Like 
spring foliage, it suggests hope, life, vitality, youth, freshness. 
24 



370 



Winter. 



Fig. 276. — Orange is represented by horizontal lines crossed 
by diagonal lines from dexter base to sinister chief. It is the 
color of the king of beasts and signifies strength, honor, gen- 
erosity. 

Fig. 277. — Crimson, or blood-color, is represented by dia- 



^^^ 



y^ .y^ y .^ 



v?^9^ 



Fig. 276.— Orange. 




^ 



F 



Fig. 277.— Crimson. 



Fig. 278.— Black. 



gonal lines from dexter chief and sinister chief, crossing each 
other. It denotes boldness, enthusiasm, impetuosity. 

Fig. 278. — Black is represented by horizontal and perpen- 
dicular lines crossed. It means darkness, doubt, ignorance, 
uncertainty. 

To the principal design portrayed on the shield can be 
added such appendages as are appropriate — crest over the top 
and a scroll with a motto beneath the shield — but they are sup- 
plementary, and not of great importance ; their colors should be 
those of the shield. 

Thus far our plans have followed the exact science of 
heraldry, but at this point comes a departure, for in the place 
of other armorial devices we shall place Dame Nature's sweet- 
est thoughts — flowers. 

If we now add to the significance of the forms and colors 
already given the accepted and authentic language of flowers, 
we shall have a possibility of combinations practically inex- 
haustible, and with such a dictionary of symbols to draw upon, 
we can successfully translate almost any terse sentiment into a 
unique decorative design. 



A Decorative Language. 



371 



In order to give all the assistance in our power we have 
culled from the most generally accepted authorities and authentic 
sources a short floral vocabulary, and now that we have the 
material at hand let us test the system and learn 



How to Make a Design in Decorative Language. 

Suppose our Natural History Society desires an appropriate 
pin or badge. 

First we turn to the floral vocabulary and there find that 
the magnolia means love of nature. The flower has a good 
decorative form, its senti- 
ment is exactly appropri- 
ate, and we unhesitatingly 
adopt it. 

After trying various 
forms for the shield, we 
select a very plain one that 
the effect of the decorative 
form of the magnolia may 
not be lessened by too or- 
nate surroundings, and to 
show the large size of the 
blossom we must have it 
occupy the entire field 
without any divisions. 
Next, as to color ; let us 
think. White, meaning 
brightness, purity, etc.? 
No. Yellow or gold, sig- 
nifying wealth, ability, or — ah ! here we have it — knowledge? 
Yes, that will do nicely — a love of nature on a field of knowl- 
ledge; that certainly is appropriate. But the top of the shield 




Fig. 279. 



372 IVinter. 



being so square and plain gives the device an unfinished appear- 
ance. Suppose we try a bar over it, and something not a flower. 
As we wish this design to remain simple, a leaf of some kind 
would be best ; so we return to the floral vocabulary, and after 
trying many and almost taking several, finally decide that the 
oak leaf is just the form needed to give a finish to the top, and 
its meaning, strength, will be an excellent element in the society. 
There, our insignia is complete, good inform, attractive in color, 
and appropriate in its meaning ; but some of us prefer having 
the motto written out in plain English, so we will add a decora- 
tive scroll, with the meaning of the design inscribed ** True Love 
of Nature." (See Fig. 279.) 

To familiarize ourselves with the working of the method let 
us try another experiment, and take the sentiment, * ' Wealth is 
the Reward of Industry," to illustrate. 

After deciding on the form of the shield, we turn to the divis- 
ions, and running them slowly over for something suitable, stop 
at Fig. 259, the Fess, meaning cause and effect. That sounds 
promising. Industry is the means by which the end, wealth, 
is accomplished. Good so far. We can now see that a floral 
emblem to represent industry should be placed in the central 
division, and whatever signifies wealth on the other two spaces. 
Among our legends of flowers we find industry portrayed by the 
bee orchid, and wealth and prosperity are symbolized by wheat. 
That is plain and easy. Now we have only to decide upon ap- 
propriate colors for the field to complete the design. Gold 
would mean wealth, but that we have in the wheat ; besides the 
yellow of the wheat would not show well on the gold background, 
while on white or silver the contrast is strong and the appear- 
ance agreeable. Silver denotes innocence and virtue, which 
are so necessary that without them wealth would be undesirable. 
Therefore silver or virtue shall be the groundwork for our wealth, 
and for industry we will select purple as meaning power. In- 



A Decorative Language. 



373 



dustry possesses the power to acquire wealth. Thus we com- 
plete the emblematical design, as seen in Fig. 280. 

The following is a problem given to us for solution : On a 

gold chevron in a black field 
is a scarlet lily, to which is 
added as a crest a sunflower, 
and under all a blank scroll. 
On this we must write a motto 
that will be appropriately sym- 
bolized by the design. 

It would be excellent prac- 





Fig. 280. 

tice for the student in this 
new motif in decorative art 
to try, by application of the" 
foregoing instructions, to de- 
cipher the meaning of this 
design before reading the 
analysis. 

Solution of Fig. 281. 
— We do not think this is 
put together as scientifically 
as the system would admit of, 
but still it can be deciphered. 

The scarlet lily (high- 
souled aspirations) on a gold (knowledge) chevron, which is 
aid, assistance, in a field of black (ignorance), surmounted by 



Fig. 281. 



374 



Winter, 




the sunflower (pure and lofty thoughts), freely translated, might 
be read : Aspirations after knowledge help to illumine the 

darkness of ignorance 
with pure and lofty 
thoughts. Aspirations 
(lily) after knowledge (gold) 
help (chevron) to illumine 
(the gold chevron and lily 
brighten up the dulness of 
the black field) the darkness 
of ignorance (black) with 
pure and lofty thoughts 
(sunflower). 

For younger girls the 
plain shield of one color with 
an appropriate flower had 
best be used, which they may vary ad infinitum. A simple 
yet pretty shield can be made by placing a four-leaved clover, 
symbolical of good-luck, on a shield of one color, silver, mean- 
ing purity, innocence, showing that innocence, combined with 
the language of the clover, expresses good-fortune. 




Fig. 282, 





Fig. 283. 



Fig. 284. 



We might go on forming innumerable designs, each more 
beautiful than the last, but enough hints have been given to en- 



A Decorative Language. 



375 



able the young people to make any style of design in this deco- 
rative language which may best suit their purpose. Young 




Fig. 285. 

girls can decorate menu cards, having 
each motto exactly suited to every sep- 
arate guest, the sentiment being indica- 
tive of some feeling or quality peculiar 
to each person. Invitations for parties, 
also orders of dances or games, may be 
designed in the same way. 

This beautiful combination of flow- 
ers and heraldry is appropriate for orna- 
mental needlework, to be embroidered 
on chairs, worked on screens, painted 
on velvet, wrought on scarfs, and adapted in innumerable ways 
to add to the refinement and attractiveness of home. 



Fig. 286, 



376 



Winter. 



The idea can be utilized in stained-glass effects and in china- 
painting. 

The chosen motto may be a decoration in marking personal 




Fig. 287. 



Pig. 288. 



possessions, such as table china (Figs. 282, 283, 284), fan (Fig. 
285), chair-back (Fig. 286), travelling satchel (Fig. 287), tidy 
(Fig. 288), handkerchief (Fig. 289), and sofa-cushion (Fig. 290). 




Fig. 289. 




Fig. 290. 



These are only a few examples of the many articles which 
can be beautified and stamped with your individual mark. Por- 
tieres offer a good ground for applique or embroidery in deco- 
rative language. 



A Decorative Language. 



Zll 



Book-Plates 

seem to be regaining their popularity and usefulness. These 

book-plates are tablets in any 

style, which, when gummed 

inside on the front covers of 

books, have been used for 

many years to designate to 

whom the books belong. 

There is a certain book- 
plate more interesting to us 
than all others. To the design 
on it we are indebted for our 
national shield and our Stars 
and Stripes. It was used by 
the Father of our Country, and 
we are glad to be able to give 
a print of the original in Fig. 
291. 

In the decorative language 
any style of book-plate can be 

designed, which, when pasted in a favorite book, will add to the 
value of the already treasured volume. 




Fig. 291. 



Floral Vocabulary. 

Apple-blossom Preference. 

Almond Hope. 

Acanthus Art. 

Arbor vitae Unchanging friendship. 

Bulrush Docility. 

Balm Social intercourse. 

Balsamine Impatience. 



378 Winter. 



Blue violet Faithfulness. 

Bay wreath Glory. 

Box Constancy. 

Broom Humility. 

Buttercup Riches. 

Camellia japonica Unpretending excellence. 

Cherry A good education. 

Canterbury-bell Gratitude. 

Chestnut Do me justice. 

China aster Love of variety. 

Cabbage Profit. 

Coreopsis Always cheerful. 

Clover, red Industry 

Cowslip Winning grace. 

Clover, white I promise. 

Daffodil Uncertainty. 

Dahlia Elegance and dignity. 

Dandelion Coquetry. 

Fennel Strength. 

Geranium Gentility. 

Grass „ Submission. 

Heliotrope Devotion. 

House-leek Domestic economy. 

Hollyhock Ambition. 

Ivy Dependence. 

Laurestine A token 

Lichen Solitude. 

Lettuce Cold-hearted. 

Lemon-blossom Discretion. 

Lilac, purple Fastidiousness. 

Lily, white Purity. 

Mullein Good-nature. 

Mignonette Worth. 



A Decorative Language. 

May-flower , . . . . Welcome. 

Nasturtium Patriotism. 

Oats Music. 

Olive Peace. 

Ox-eye Patience. 

Poppy, white Dreams. 

Snowdrop Consolation. 

Straw United. 

Sensitive-plant Sensitiveness. 

Star of Bethlehem Reconciliation. 

Sweetbrier Simplicity, 

Thyme Thriftiness. 

Thorn-apple Disguise. 

Tulip-tree Fame. 

Witch-hazel A spell. 

Winged seeds of all kinds Messengers. 

White violet Modesty. 

White rose Silence. 



379 




jr- 




CHAPTER XXXIV. 

A FEW ITEMS ON OLD-FASHIONED NEEDLE- 
WORK, WITH SOME NEW AND ORIGINAL 
PATTERNS. 

OME around early this afternoon and bring 
f^ your fancy-work ; we will have a nice, 
cosey time ; all the girls will be there, and 
we can read that last new book." Such 
is the Camiliar and welcome invitation 
given and received, from time to time, by 
most young girls, and they find quiet but 
real recreation in these informal meetings, 
where, while listening to a friend read 
aloud, they believe it much easier to keep their minds on the 
subject if their hands are employed with dainty needle-work. 
Then, too, sewing is a real pleasure when one becomes inter- 
ested in the work, and anyone who thoroughly understands 
plain sewing can with ease learn fancy stitches of all kinds, for 
good old-fashioned 

Plain Sewing 

is the foundation — the A B C — of all the more elaborate drawn 
work, embroideries, and some of the laces. As a rule we think 

OVERHANDING. 

comes first on the list of plain stitches ; this is exactly the same 
as sewing over and over. Hold the two edges of the material 



Old-Fashioiied Needle-work. 



381 



firmly together between the first finger and thumb of the left 
hand, while with the right hand you take the stitches very close 
together and as near the edge as possible, sewing from right 
to left (Fig. 292). It is well to keep the edge nearest to you a 
little tighter than the outer edge, to prevent its puckering. 
Always baste the seam before sewing, and when the seam is 
finished open it and flatten out the stitches (Fig. 293), so that 




Fig. 292, — Overhanding ; or Sewing 
over and over. 



Fig. 233 — Overhanding. The seam opened with 
stitches flattened out. 



the edges of the material will not overlap, but just meet to- 
gether and lie smooth and flat. 



OVERCASTING 



is the same as overhanding, except the stitches slant, are farther 
apart, taken down deeper in the material, and the seam is not 
opened. 

HEMMING. 

First turn in the raw edge four or five threads, according to 
the kind of goods to be hemmed, then turn it down again to 
the desired width ; this done, baste the hem down evenly and 
neatly — it must be of the same width throughout — hold the 



382 



Winter, 



sewing over the first finger of your left hand, and have the 

stitches small, even, and 
very near the edge of the 




hem (Fig. 294). 

RUNNING. 

Pass the needle in and 
out of the material in a 
straight Hne (Fig. 295), 
making all the stitches 
the same size. We believe the rule is to take up two threads 
and leave two ; but the length of the stitch should be regulated 
by the kind of material used. 

BASTING 
is to take long stitches in the same manner as running. 



Fig. 294.— Hemming. 



GATHERING 
does not differ much from running ; the stitches are taken on the 
needle in the same manner, but in this case two threads are 
taken up and four left ; the line should be kept perfectly straight. 

If you wish to gather 
an apron or a skirt di- 
vide it into halves, then 
into quarters, in order 
to make the fulness 
even on each half of the 
band ; mark the four 
places and gather on the 
right side ; when fin- 
ished draw the stitches 




Fig. 295.— Running. 



tightly together on the thread and stroke down evenly with a 



Old- Fashioned Needle-work. 



383 




needle. To sew in the 
gathers, back-stitch each 
one in separately. 

STITCHING. 

Take two threads 
back of the needle and 
two before, having each Fig. 296.-stitching. 

stitch meet the last one, as in Fig. 296 ; keep the stitches even 
and in a straight line. 

BACK-STITCHING. 

Proceed as in stitching, only make the stitches longer and 
do not have them meet. 

FELLING. 

First baste up the seam, allowing the upper edge to extend 
five threads beyond the lower edge (Fig. 296) ; then back- 
stitch or stitch the two edges together ; next turn the upper 
edge down over the lower one and lay open the seam so that 

the fell will lie down flat 
like a hem (Fig. 297) ; 




then hem it down neatly. 



Button-holes. 

Fig. 298 shows how 
to take the proper stitch. 
Be careful in cutting 
button-holes to make the 
slit even to a thread and cut the outer corner rounded ; bar 
.the inner corner by taking two stitches across it, and overcast 



Fig. 297.— Felling. 



384 



Winter, 



the button-hole around three or four threads deep from the 
edge, or if the material is not inclined to ravel run it with 

thread, either double 
or single, drawing it 
a trifle tight ; then 
begin at the left-hand 
corner to work the 
button-hole, leaving 
Fig. 298.-Button.hoie stitch. o^e thread between 

each stitch ; keep the stitches exactly the same depth and the 
loop or pearl of the button-hole on the upper edge. 




HERRING-BONE OR CAT'S-TOOTH STITCH 

is used to keep the seams in flannel spread open and fastened 
neatly down. Fig. 299 shows how to take the stitch ; make the 
stitches all even and of the same size. 

We have now given all the stitches which properly belong 
to plain sewing, and 
our next step will be 



Darning and Mend- 
ing. 

*' A stitch in time 
saves nine ; " this much 
most of us know from 
experience, and it is 
wise to devote a little time on a certain day each week to look- 
ing over the wardrobe and making any repairs that may be 
needed ; the little care and time thus bestowed will prove a 
true economy, and it is a real comfort to have all one's cloth- 
ing in perfect order. 




Fig. 299.— Herrinr; -bone Stitch. 



Old- Fashioned Needle-work. 



385 



TO DARN A JERSEY OR A STOCKING. 

With a needle and thread carefully draw out the uneven 
ravelled edges of the hole, in order to diminish its size as much 
as possible, and bring the loops and 
ends back in their proper places ; 
then place under it a wooden o^^^ or 
anything that will answer the pur- 
pose, and using thread of the same 
texture and shade of color as the 
garment to be mended, run back 
and forth across the hole as far as 
the material is worn thin, leaving a 
loop at the end of each turn. In crossing the threads, take up 
every other thread alternately each way (Fig. 300), and make 
the darn of an irregular shape, as one of an even outline does 
not wear well ; when the weaving or darning is finished the loops 
can be cut off. 

TO DARN A TEAR. 




Fig. 300.— Jersey or Stocking Darn. 



Carefully bring the ragged edges together and baste the 
tear as nearly as possible in its original position ; then, if it is 

delicate muslin or dress material 
to be mended, use ravellings of 
the same instead of thread to 
darn with, and weave it in and 
out across the edges of the rent, 
as in Fig. 301 ; if the darn needs 
strengthening, baste a piece of 
the same material under the rent 




l^^\ 




Fig. 301.— Tear Darn. 



before darning, and catch down 



the edges of the piece on the under side of the goods. In 
mending broadcloth or like material, darn it on the wrong 



3S6 Winter. 



side, and when the darn is finished, ruff up the nap with the 
point of the needle at the edges of the tear on the right side to 
cover the stitches ; then dampen the darn, and after laying a 
thin clean cloth over it, press with a moderately hot flat-iron ; 
this should make the darn almost, if not quite, imperceptible. 

How to Patch. 

If possible cut the piece intended as a patch of the same 
goods as the garment to be mended, and if there is a pattern 
be careful to so cut and place the patch that it will match ex- 
actly ; baste and hem down the patch on the right side of the 
worn part of the garment ; then cut out the old material on the 
wrong side, leaving enough edge to form a firm hem ; sew this 
to the patch, taking care that the stitches do not show on the 
right side. 

How to Sew on a Button. 

Should much strain come on the button, as in little chil- 
dren's clothes, first hem down a small double piece of muslin, 
on the wrong side of the garment, at the exact spot where the 
button is to be placed, and with strong thread take a stitch on 
the right side ; then sew the button through about four times, 
being careful not to let the stitches spread on the wrong side ; 
wind the thread three times around the shank of the button 
formed by the stitches, drawing the thread a little tight, pass 
the needle through and fasten the thread neatly on the wrong 
side ; the extra piece of muslin can be omitted when not needed. 

To Mend a Kid Glove. 

If the glove is merely ripped, and there is no strain on the 
portion to be mended, sew the two edges together over and 
over on the right side with fine thread or sewing-silk matching 



Old-Fashioned Needle-work. 



387 



in color the glove to be mended ; if, however, there is liability 
of its tearing out again, strengthen the edges by first working a 
button-hole stitch on each ; then sew them together over and 
over, passing the needle in and out of the loops of the button- 
hole stitch, so forming a narrow net-work of thread between the 
two pieces of kid. Should the glove need a patch, carefully cut 
a piece of kid out of the best part of an old kid glove corre- 
sponding in color to the 
one needing repairs ; 
make the patch exactly 
the shape and size of the 
hole, and button-hole 
stitch all around the edge 
of the hole and the edge 
of the patch ; then sew in 
the patch over and over, 
catching together the 

loops of the button-hole stitches • this makes the mending firm, 
neat, and strong. 

Fancy Stitches. 

These are in many varieties of style ; one of the most useful 
is known as the 

FEATHER STITCH. 

Fig. 302 gives the position of the needle and the manner of 
taking the stitch. Remember to make all the stitches of an 
exact length and the same distance apart, first one on this side 
and then one on that, keeping them in a straight, even line. 

CHAIN STITCH 




rig 302.— Feather Stitch. 



sometimes takes the place of braiding ; it is the same stitch 
as that used in the old-fashioned tambouring (Fig. 303) ; 



388 



Winter. 




Fig. 303 — Chain Stitch. 



many Persian embroideries are made in silk with the chain- 
stitch. 

A NEW IDEA IN OUTLINE STITCH. 

The stitch (Fig. 304) is used for outline embroidery, and 
when made with fine black sewing-silk resembles pen-and-ink 

work. We have seen 
figures outlined on linen 
with the drapery worked 
in colors, while the face, 
hands, and feet were 
simply in black and 
white ; being finely outlined, the eftect was novel and artistic, 
for in this way the features were made as true as if drawn on 
paper with a pencil. 

For filling in the solid colors take the common running 
stitch, but make the stitches long on the right side of the em- 
broidery and very shoft on the wrong side, so as to give the 
appearance of 
the colored 
fabric copied. 
Use filo- 
silk ; and Eng- 
lish or French 
embroidery 
cottons, when 

colors are needed in the work. Always soak the silks and 
cottons in strong salt and water before using ; this sets the 
color and keeps it from running when washed. 




Fig. 304.— Outline Stitch. 



HEM-STITCHING. 



Decide upon the width of the hem and the width of the 
space for drawn threads ; carefully draw out the thread at one 



Old- Fashioned Needle-work. 



389 




rig. 305.-Hein-stitching. 



edge of the space, then the thread at the other edge ; next 
all the intervening threads ; this finished, fold and baste down 
the hem, allowing it to meet the edge of the drawn work, and 
taking five threads running 
lengthwise in the space, bind 
them together at the edge of 
the hem ; at the same time 
stitch them to the hem, as in 
Fig. 305. 

Drawn Work 

always looks well and is very 
serviceable when made of 
linen. Scarfs for buffets, bureaus, or tables, and tea-cloths, 
tidies, or chair-backs, can be made of crash, butchers' linen, 
and Hnen sheeting ; it is better to have doylies of very fine linen. 
In making drawn work, it the article is to be fringed, first 
draw out a few threads to measure the depth of the fringe, 
and at the opening thus made hem-stitch all around the edge 

of the material, leaving the 
ravelling out of the fringe un- 
til the drawn work is finished ; 
proceed to draw the threads 
wherever spaces are desired, 
and before working the pat- 
tern always hem-stitch both 
edges of the spaces. In Fig. 
306 the pattern marked B 
shows the stitch called fagotting, made by crossing every other 
group of threads back over the one preceding and drawing the 
linen thread through in such a way as to keep the groups 
twisted ; the two lines marked A, in the Fig. 306, are intended 




Fig. 306.— Fagotting Stitch. 



390 



Winter, 



more as a finish to some elaborate design than as a pattern in 

themselves ; these are made by 
hem-stitching down a number 




Fig. 307 — Drawn Work. 



right-hand 



of threads to each group. Fig. 
307 gives a favorite pattern ; for 
this count the threads, so that 
the spaces may be equal and 
regular ; draw the threads in 
all the spaces running one way 
first ; then draw the threads in 
the spaces crossing the first one 
and run linen threads diago- 
nally across from the top of the 
bottom of the left, dividing each 




Fig. 308.— First Knot. Fig. 309.— Second Knot. 



corner to the 

linen square into two 

equal parts ; cross these 

by threads also running 

diagonally across from the 

top of the left-hand corner 

to the bottom of the right, 

again dividing the linen 

squares, making four equal 

parts; then weave threads 

through all the spaces running both horizontally and perpendicu- 
larly, using the fagotting stitch 
(Fig. 306), and when crossing the 
threads in the open spaces tie the 
centres of each in turn, as in Figs. 
308, 309; finish the pattern by run- 
ning a thread in and out several 
times around the knots in the 
fasten the ends by tying neatly. 






wm^mmmmwmmmmmmwmwm 



Fig. 310— Border in Drawn Work. 



centres of the wheels and 
Another pattern is given in Fig. 310 



Old- Fashioned Needle-work. 391 

Outline work is often combined with drawn work ; fast colors, 
in either cotton, linen or silk, are used for the outline design. 
When the article worked is intended for daily use and must 
frequently be laundried, it is better to substitute in place of the 
fringe a wide hem-stitched hem edged with firm linen lace. 

Very dainty fancy aprons are made of common scrim with 
spaces drawn and narrow ribbons of different colors simply 
woven in and out of the threads, running crosswise through the 
spaces. 

Applique and Original Designs for Portieres. 

The pattern in this work is cut from one material and sewed 
on another. 

Almost any kind of fabric can be used as either applique or 
foundation ; velvet and plush are suitable for applique, but 
make poor groundwork, owing to the long nap ; both ma- 
terials in dark rich colors are handsome when used as a border 
on portieres or table-covers. To applique a pattern of velvet 
or plush cut the design very exact and cover the wrong side 
with a slight coating of gum, being careful to have the gum 
thin on the edges so that it will not spread on the ground- 
work ; then lay the velvet on the place it is to occupy, and 
after pressing it down very gently and lightly with your hand, 
allow it to dry ; this accomplished, the edges of the pattern 
may be hemmed down neatly on the foundation. If a further 
finish is desired, outline the design by sewing all around the 
edge a small gold or silken cord. 

Portieres. 

We give an original applique design for a portiere in Fig. 
311, representing Day. The foundation is of soft dark-blue 
momie-cloth, the sun a round piece of bright yellow or orange 



392 



Winter, 



satin, and the rays are of gold or heavy yellow silk thread 
merely run in stitches of various lengths ; the cloud is of light 
blue crape or crazy cloth, and the bird is one of those which 
come prepared expressly for applique by the Japanese, and can 
be purchased at almost any Japanese or fancy store ; if possible 
a lark should be selected in preference to other birds. The 
border is a band of old gold velvet. Our other design (Fig. 



/ 



11:1, .4^' 

THREADS^,OF GOLDlpR YELUOW/SILK 
'^■^X liljll ////</ 




JAPANESE //' ' |l 

BIRD V 




DARK BLUE MOMIE CLOTH 



OLD GOLD VELVET 



WHITE SILK 




DARK BLUE MOMIE CLOTH 



OLD GOLD VELVET 



Fig. 311 Portiere. Day. 



Fig. 312 — Portiere. Night. 



312) represents Night ; the foundation and band are the same as 
those for the ''Day" portiere; the star is of white silk, the 
moon of very pale Nile green silk, and the cloud of dark pearl 
gray crape or crazy cloth, much darker than the blue momie- 
cloth. 

The applique work must be done very carefully. First cut 
out the designs, next turn in the raw edges evenly and smoothly, 
and with a very fine thread and needle baste the edges down ; 



Old-Fashioned Needle-work. 393 

then baste the designs carefully on the foundations, and, with a 
fine needle and sewing-silk matching in color the piece to be 
appliqued, hem each one down neatly, making the stitches 
almost invisible. The band of velvet can be sewed on the bot- 
tom edge of the momie-cloth, then turned up like a hem and 
hemmed down. 

Lace. 

Very beautiful lace is made by cutting out the heavy pat- 
terns which are still perfect, from old and worn laces and em- 
broideries, and transferring the designs to new fine wash-net. 
After first basting them on, hem them down to the netting with 
a fine needle and thread ; in this way the embroideries last as 
long again and look as well as when new. 

Ribbon Embroideries. 

We can give a clearer idea of this work by means of an ex- 
ample, and we will take the common white daisy as an illustra- 
tion. 

Thread a long-eyed coarse needle with very narrow white rib- 
bon, and beginning at the centre of the flower, pass the needle 
from the wrong side up through your material, drawing the 
ribbon out nearly its full length and leaving only a short piece 
on the wrong side to be fastened down ; now take a stitch 
straight out the length of a daisy petal and pass the needle 
through to the wrong side ; then, taking a very short stitch, 
draw the needle out through on the right side ; next take an- 
other long stitch back to the centre of the daisy, thus forming 
the second petal ; continue in the same manner, making the 
petals radiate out in a circle from the centre of the flower. Work 
the centres of the daisies with yellow silk and the stems in 
•dark-green silk ; the leaves can be either worked or appliqued. 



394 



Winter, 



For half-blown daisies make only about a quarter of a circle of 
petals, and in place of the yellow centre, work a green calyx. 
Ox-eyed daisies can be made in the same way with soft, thin 
yellow ribbon, a little broader than the ribbon used for white 
daisies. The work is rapid and pleasing, and almost any 
flower can be imitated very perfectly with ribbon embroidery. 





CHAPTER XXXV. 

SCRAP-BOOK AND HOME-MADE BOOK-COVERS. 

'HE fashion of collecting pictured adver- 
tising cards, so much in vogue among 
the children a few years ago, seems to 
have run its course, and dying out, it 
has left on the young collectors' hands 
more cards than they know well what 
to do with. Many of the collections 
have been pasted in scrap-books, of 
which the children have long since tired. While examining 
one of these volumes with its row after row of cards, it oc- 
curred to me that these advertisements might be utilized in a 
new way by dividing and combining them. The experiment 
proved a success, and I will now try to show you how, with 
the aid of scissors and mucilage, the pictures which have be- 
come so familiar may be made to undergo changes that are 
indeed wonderful, and how from them may be formed a 

Mother Goose Scrap-book. 

The nursery scrap-books made of linen or paper cambric 
are, perhaps, familiar to most of our readers ; but for the bene- 
fit of those who may not yet have seen these durable little 
books, we will give the following directions for making one : 
Cut from a piece of strong linen, colored paper cambric, or 



396 



Winter. 



white muslin, four squares twenty-four inches long by twelve 
inches wide. Button-hole-stitch the edges all around with 
some bright-colored worsted, then place the squares neatly to- 
gether and stitch them directly through the centre with strong 
thread (Fig. 313). Fold them over, stitch again, as in Fig. 
314, and your book is finished and ready for the pictures. 

It is in the preparation of these pictures that you will find 
the novelty of the plan we propose. Instead ofpasting in those 
•cards which have become too familiar to awaken much interest, 
let the young book-makers design and form their own pictures 
by cutting special figures, or parts of figures, from different 



; ( r» rirvTirrrrirrrinnnn^-rrirru-.-ini-u y; i « «'u> «T»'ii'f "TWivimr' V f « » irvnnnnnfi'i 



^.^J^xAJulJUJJAJJAJlJJJtJJ^J^J^J3^^xOJ.iDL^A-Vfl-lLlL^^ 

Fig. 313.— Scrap-book Opened and Stitched through 
the Centre. 



nni"VTnnnnnr«"inr« I'xvni-innrvT/ii'rv'a'^ 



l'jtj|>jJLfjUMjuujiiij>ju\.yiji.t.iAj.»jJU,iuS , 

Fig. 314,— Scrap-book Fold- 
ed and again Stitched. 



cards, and then pasting them together so as to form new com- 
binations. 

Any subject which pleases the fancy can be illustrated in 
this way, and you will soon be deeply interested in the work 
and delighted at the strange and striking pictorial characters 
that can be produced by ingenious combinations. 

Stories and little poems may be very nicely and aptly illus- 
trated ; but the " Mother Goose Melodies " are, perhaps, the 
most suitable subjects with which to interest younger children, 
as they will be easily recognized by the little folk. Take, for 
instance, the ** Three Wise Men of Gotham," who went to sea 
in a bowl. Will not Fig. 315 serve very well as an illustration 



Scrap-books. 



397 



of the subject ? Yet these figures are cut from advertising; 
cards, and no 
two from the 
same card. 
Fig. 316 shows 
the materials, 
Fig. 315 the 
result of com- 
bining them. 

Again, the 
little man 
dancing 





Fig. 315.—" Three Wise Men 
of Grotham. ' ' 



Fig. 318.—'* Little Jack Horner."^ 




Fig. 316 — Figures 
cut from Adver- 
tising Cards. 

prised to see 



into "Little Jack Horner" eating his Christ- 
mas pie (Fig. 318), by merely cutting off his legs 
and substituting a dress-skirt 
and pair of feet clipped from 
another card. The Christmas 
pie in his lap is from still an- 
other card. 

In making pictures of this 
kind, figures that were origi- 
nally standing may be forced to 
sit ; babies may be placed in 
arms which, on the cards they 
were .stolen from, held only 
cakes of soap, perhaps, or 
boxes of blacking ; heads may 
be ruthlessly torn from bodies 
to which they belong, and as ruthlessly clapped 
upon strange shoulders ; and you will be sur- 
what amusing, and often excellent, illustrations 



Fig. 317.— Figures cut 
from Christmas Cards. 



398 



Winter. 



present themselves as the result of a little ingenuity in clipping 
and pasting. Another kind, which we shall call the 



Transformation Scrap- Book, 

will be found exceedingly amusing on account of the various 
and ever-changing pictures it presents. 

Unlike any other, where the picture once pasted in must 
remain ever the same, the transformation scrap-book alters 

one picture many times. 



To work these transfor- 
mations a blank book is 
the first article required ; 
one eight inches long by 
six and a half or seven 
wide is a good size. 

Cut the pages of this 
book across, one-third of 
the way down. Fig. 319 
shows how this should be 
done. The three-cornered piece cut out near the binding allows 
the pages to be turned without catching or tearing. Leave the 
first page uncut ; also the one in the middle of the book. 

Cut from picture-cards, or old toy-books which have colored 
illustrations, the odd and funny figures of men and women, 
boys and girls, selecting those which will give a variety of cos- 
tumes and attitudes. 

Paste a figure of a woman or girl on the first page, placing 
it so that when the lower part of the next page is turned, the 
upper edge of it will come across the neck of the figure where it 
is joined on to the shoulders. 

Cut the heads from the rest of the pictured women, and 
choosing a body as different as possible from the one just used, 




Fig. 319.— Transformation Scrap-book with Pages 
cut. 



Scrap-books. 



399 




Leaves from a Transformation Scrap-book. 



paste it upon the lower part of the next page, directly under 
the head belonging to the first body. Upon the upper part of 



400 IVinter. 



the same page paste any one of the other heads, being careful 
to place it so that it will fit the body. Continue in this way, 
pasting the heads upon the upper, and the bodies on the lower, 
part of the page, until the space allowed for the women is filled 
up ; then, commencing at the page left in the middle of the book, 
paste upon it the figure of a man, and continue in the same man- 
ner as with the woman, until the spaces are all used and the 
book is complete. 

The combinations formed in this way are very funny. Old 
heads with young bodies ; young heads with old bodies ; then 
one head with a great variety of bodies, and so on. 

The first picture may represent a man, tall and thin, dressed 
in a rowing costume, as shown in the illustration. Turn the 
lower part of the next page, and no longer is he thin and tall, 
but short and stout, the position of this body giving the expres- 
sion of amazement, even to the face. The next page turned 
shows him to be neither tall nor short, thick nor thin, but a 
soldier, well-proportioned, who is looking over his shoulder in 
the most natural manner possible. 

The figures in the illustration were cut from advertising cards, 
and the head belongs to none of the bodies. 

A curious fact in arranging the pictures in this way is that 
the heads all look as though they might really belong to any of 
the various bodies given them. 

Instead of having but one figure on a page, groups may be 
formed of both men and women, and in the different arrange- 
ment of the figures they can be made very ludicrous indeed. 

A scrap-book for older girls, which might be termed more 
fitly 

An Album, 

can be made by mounting engravings, wood-cuts, photographs, 
and water-colors on pieces of thin card-board all of the same size. 



Scrap-books, 



401 



If any one subject be chosen, and such pictures selected as tend 
in some way to illustrate that subject, the book will prove more 
interesting in the making, and will be quite valuable when fin- 
ished. 

There will be no difficulty in mounting the pictures; simply 
paste them on the card- board with good flour-paste, and press 
under a heavy weight, keeping them perfectly neat and free 
from smears of paste on the edges. When two or more are 
mounted at the same time, place clean pieces of blotting-paper 
between, pile one upon another, and put the heavy weight on 
top. 

Such a scrap-book should be bound in a 



Home-made Book-cover, 

which is made in this way : 

Take two pieces of heavy card-board a trifle larger than the 
book you wish to cover, make three holes near the edge of 
each (Fig. 320) and corresponding holes in the edges of the 






Fig. 320— One Side of Book-cover 
with Holes cut near the Edge. 



Fig. 321.— Book- cover 
Tied with Ribbons. 



Fig 322.— Book- cover 
Laced together with 
Silk Oord. 

book, which must not be too thick — that is, contain too many 
leaves ; pass narrow ribbons through these holes and tie in 
bow-knots, as in Fig. 321. If the leaves of the book are thin, 
26 



402 



JVinter, 



more holes can be made in the back and the covers laced to- 
gether with silk cord (Fig. 322). 

These book-covers may be beautifully decorated by anyone 
who can paint in water-colors, and tinted card-board can also 
be used for them. They are pretty, and suitable as covers for 
manuscript poems or stories, or for a collection of autographs. 

In making any kind of scrap-book it is very necessary that 
the paste used should be good. If the paste is poor, the pict- 
ures will peel off or the paste turn sour. The recipe given 
below we can recommend as an excellent one for 



Flour-paste. 

Mix one-half cup of flour with enough cold water to make a 
very thin batter, which must be smooth and free from lumps ; 
put the batter on top of the stove— not next to the fire — in a tin 
sauce-pan, and stir continually until it boils ; then remove from 
the stove, add three drops of oil of cloves, and pour the paste 
into a cup or tumbler. This will keep for a long time and will 
not become sour. 




CHAPTER XXXVI. 

A HEAP OF RUBBISH, AND WHAT TO DO 
WITH IT. 

almost every house there is an attic, and in al- 
most every attic may be found a room where 
trunks are stored, where broken toys and dis- 
abled furniture are put out of sight, and where 
all articles not worth selling or giving away 
gradually accumulate until this attic room con- 
tains, literally, a heap of rubbish. Entering one 
of these lumber-rooms not long ago, and glancing over the 
medley which comprised so much, from a tin can to a piece of 
broken bric-a-brac, the thought occurred to me that something 
might be done with it, some use be made of at least a few of 
the articles consigned to the place as utterly useless. 

That was rather a thrifty thought. Do you not think so, 
girls ? Then let us make the most of it and together venture 
back into that mysterious and somewhat dusty chamber, and 
see if there really is anything there worth the making over. 

In imagination we will stand in our attic lumber-room and 
begin to look about us with eyes and mind open to perceive 
possibilities. ^ 

On one side of the room, leaning against the wall, we see 
what was once a handsome old-fashioned mirror, quite large and 
of heavy plate-glass. It's poor dusty face, reflecting dimly its 
barren surroundings, is shattered in many pieces, and at first 



404 Winter. 



sight it seems hopeless to attempt to restore it to the plane of 
beauty or usefulness ; but do not let us be hasty ; we will ex- 
amine it more* closely. Yes, here is a piece of glass large 
enough to frame. Never mind its uneven shape and rough 
edges ; we will work out that problem later. Now we must put 
it carefully aside and continue our investigations. 

Here is a large tin can, which can be made into a lantern to 
hang in the hall, and this baking-powder can may be of some 
use, so we will take it also. 

The tops of three cheese-boxes ; something should be done 
with them. Perhaps they can be used for a table ; put them 
with the other chosen things. 

A croquet-ball ! That will make a fine key-rack. This box 
of silks and ribbons we may need, and the large pasteboard- 
box will do for the foundation of our mirror frame. 

We must have this piece of old brass chain this handful of 
large nails, the pasteboard roll which has been used for send- 
ing engravings through the mail, and that old broad-brimmed 
straw hat ; also these three broomsticks and the piece of nice 
dark-gray hardware paper. 

Now, seated in our own room, let us see what we can do with 
this rather unpromising array of objects spread around us. 
First we will try 

The Mirror, 

and must cast about us for the ways and means of framing it. 
The large pasteboard-box we have already decided will make a 
good foundation. After tearing off the sides, we will cut an 
even square from the bottom, which is smooth and unwarped. 

Next laying the piece of mirror on the square of pasteboard 
we must cut, out of ordinary brown wrapping-paper, a square 
two inches larger all around than the pasteboard, make a hole 
in the centre as large as the shape of the mirror will allow, and 



What to do with Rubbish. 



405 




Fig. 323.— Brown Paper Pasted 
on Mirror and Pasteboard for 
Home-made Mirror-frame. 




Fig. 324.— Bevel of 
Hardware Paper 
on Frame. 



paste it down on the mirror and paste- 
board (Fig. 323). Then, after clipping 
out the corners, we will turn the edges 
over on to the back of the pasteboard 
foundation and paste them down. Cut- 
ting four strips of the hardware paper, 
about two inches wide, we will fold them 
through the centre lengthwise and paste 
them around the glass, 
lapping them just a lit- 
tle over the edge of the other paper, the folded 
side being next to the glass (Fig. 324). This 
will form a bevel for our frame. From the 
same paper we will now cut a square, three 

inches larger on all 
sides than the foun- 
dation ; then, exact- 
ly in the centre, mark a square half an 
inch larger all around than the square 
of mirror showing. In the centre of 
the square marked out we must insert 
our scissors, cut it like Fig. 325, and 
after clipping off the points, as indi- 
cated by the dotted lines L, M, O, N, 
turn back the four 
pieces at the dotted lines, P, Q, R, S, leaving 
an open square. Then placing it over the 
mirror so that the same width of bevelled 
edge shows on all sides of the mirror, we 
must paste it down. Clipping out the cor- 
ners, as shown in diagram, we will bring the 
edges over and paste them down securely to 
the back of the frame. A piece of hardware paper, cut in 




V 



Fig. 325.— The Outside Covering 
for Mirror-frame. 




Fig. 326.— Back of 
Frame with Tape 
Attached. 



4o6 



Winter. 



square one inch smaller than the frame, we will paste on the 
back to finish it off and hide the edges of the paper where they 

have been turned over 
(Fig. 326). 

We must fasten 
on a piece of tape by 
which to hang the 
mirror, by pasting 
down the ends of the 
tape on the frame 
(letter T, Fig. 326), 
and pasting over each 
a strip of the hard- 
ware paper (letter 
U, Fig. 326). When 
the frame is quite dry 
we will paint a branch 
of dog-wood or some 
light-colored flower 
mirror as anyone could 




Home-made Miiror-frame. 



across it, and 
wish for. 



have as pretty a little 



The next thing to commence will be 



The Table, 

which you can make yourselves by following these directions : 
The three cheese-box lids will answer nicely as shelves for 
a work- or bric-a-brac table, and the broomsticks, which are 
all the same length, will do for the legs. 

Upon each broomstick mark the distances for placing the 
shelves, allowing six inches from each end of the stick for the 
top and bottom, and the exact centre between these points 
for the middle shelf. With a pocket-knife cut narrow grooves 



What to do with Rubbish. 



407 



U 



Fi 



327. -Narrow 
Grooves Out 
around Broom- 
stick for Table- 
leg. 




Fig. 328.— Holes 
Bored in a Box- 
lid Used as a 
Table-shelf. 



around each stick, one-half inch on either side of 
the points marked on them (Fig. 327). This will 
make six grooves on each stick. Now measure 
the box-lids to find their circumferences, and di- 
vide them into thirds, 
marking the distances 
on the rim to obtain 
the true position for the 
legs. At these points 
bore four holes with a 
gimlet, one inch apart, 
two above and two be- 
low (Fig. 328). Through 
one of the top holes 
pass a piece of pliable 
wire, place one of the 
broomsticks against the 
rim of the lid, pass the 
wire back through the 
other upper hole (Fig. 
329), fit it into the 
upper groove of the 
stick, and draw it tight. 
Twice the wire must be 
put through the upper, 
holes and around the 
stick in the top groove ; 
then, bringing it down 
on the inside of the lid, you must put it twice 
through the lower holes and around the stick in 
the lower groove ; then twist the ends and tuck 
them under the wire on the inside of the lid (Fig. 
330). In this way each leg will have to be fast- 




Fig. 329.— Man- 
ner of Fasten- 
ing a Shelf to 
Table-leg. 





Bric-a-brac Table. 



Fig. 330.— Table- 
shelf and Leg 
Fastened se- 
curely together 
by Wire. 



4o8 Winter, 



ened to each shelf. When the table is all put together paint it 
black, and, as soon as it is dry, tie a bright ribbon on one of the 
sticks at the top, and a charming little bric-a-brac table will be 
the result of your labor. 

You can make a very pretty 

Lantern 

of the old tin can ; but first you must have some tools to work 
with ; not many, only a piece of wood, rounded on one side to 
fit into the can, a hatchet or heavy hammer, and a few wrought 
iron nails. If the piece of wood is not large enough to fit the 
can, another stick can be put in to hold the first one firmly 
against the can. That being arranged, you must decide upon 
some kind of a pattern to be made by the holes, and indicate 
it on the can with a small paint-brush and paint or ink ; then, 
laying the can on its side, the rounded piece of wood being at 
the top, with one of the wrought iron nails puncture the holes 
where you have indicated the pattern. With the hammer drive 
the nail through the tin into the wood ; then draw it out, make 
another hole, and so on until all the holes you wish are driven 
through that part of the can held in place by the rounded 
piece of wood. 

This wood, you see, keeps the can from bending when the 
nail is being driven through. In moving the wood as the work 
progresses, you must always keep it under that part of the can 
being punctured. To make the large hole, you will have to put a 
number of the small holes close together, and then drive the nail 
through the partitions, cutting them away. The pattern being 
completed, puncture three holes, close to the top of the can, at 
equal distances apart. These are for the chains to pass through, 
by which to suspend the lantern. In the cover of the baking- 
powder can make three holes at equal distances ; then divide 



What to do with Rubbish. 



409 




the chain, which is about one yard and a quarter long, into 
three equal lengths, separating the pieces by prying open the 
links. Put an end of each piece through the holes made for 
them at the top of the can, and fasten them 
by hooking the open links through the links 
of the chain a little farther up, and hammer- 
ing them together again. 

Now pass the ends of the chains through 
the holes made in the lid of the baking- 
powder can, and, bringing the ends together, 
fasten them by joining the 

Fig 331 Fig.332.lJ„l^S^ 
—Stand m Lantern, with 

Nails for Holding Can- Paint the lantern, chain 
and all, black, and while it is 
drying make a stand for the candle which is to 
furnish the light. A square piece of thin board, 
just large enough to fit into the can without 
touching the sides will do for the stand. Drive 
four small nails in the centre to hold the candle 

(Fig- 331). 

Make handles for lifting the stand in and 
out of the lantern, by bending two pieces of 
wire like Fig. 331, and fastening them to the 
board with staple tacks (Fig. 332). 

When the paint on the lantern is dry, paste 
red tissue-paper all around the inside to give a 
cheerful red glow to the light, which will shine 
through it. If you would like it to resemble a 
jewelled lantern, paste different colored papers 
over the large holes and leave the small ones 
open. An S hook passed through the loop 
made by the three chains will serve to connect them to the 
chain which should suspend the lantern from the ceiling. 




• l'3!l;'.?!''i 






Lantern. 



4IO 



JVinter. 



A Music-Roll 




f 



LLXJJJJ-' 



Fig. 333.— Paper 
Covering for 
End of Music- 
roll. 



can be made of the pasteboard roll. 

Cut a round piece of pasteboard just the size to fit into one 
end of the roll ; then cut out another round piece, this time of 
paper, one inch larger than that made of pasteboard. Clip the 

edges (Fig. 333) and paste it over 
the end of the roll which is filled 
in with the round of pasteboard 

(Fig, 334). 

Among the scraps of silk and 
Fig. 334.— Pa- j-ibbons you will, perhaps, find a 

per Pasted . "^ _ ^ ^ 

over End of good-sized picce of dark-green or 

Musicroll. bj.Q^j^ gjij^ . ^gg ^j^jg f^^ ^j^g ^^gg^ 

which must cover the roll neatly. To make the case fit the 
end of the roll you have just filled up, mark on a piece of the 
silk a circle the size of that end of the roll. This can be 
done by standing the roll on the silk, and running a pencil 
around the edge. When cutting out the silk leave a margin of 
a quarter of an inch on the outside of the pencil-mark for the 
seam. Cut the silk for cover- 
ing the roll three inches longer 
than the roll, 
and wide 
enough to 
allow for a 
quarter of an 

- Music-roll. 

inch seam. 

Sew up the long seam, and then sew the round of silk into the 

end of the case. Hem the other end of the case, and run in a 

narrow ribbon about an inch from the edge. This is for a 

draw-string. 

When the roll is fitted snugly in its case, tie a ribbon, 




What to do with Rubbish. 



411 



matching it in color, around the roll, making a loop to form 
the handle. Fasten the ribbon by taking a few stitches under 
the bows, catching them on to the silk. 

The old straw hat can be transformed into a dainty 



\Vork-Basket. 



It is stiff and harsh at present, but pour boiling water over 
it and the straw will become soft and pliable, and can be bent 
into any shape you like. When dry, it will be again stiff, and 
will retain the form you have given it. After scalding the hat 
bend the brim in toward the centre, in four different places, at 
equal distances apart. This will make a fluted basket. You 




Fig. 335.— Straw Hat Tied in Shape for a 
Work-basket. 



V/ork-basket. 



must tie it in shape (Fig. 335) and leave until perfectly dry ; 
then bronze the basket, line it with silesia, and sew silk or 
satin around the top to form a bag. Run a draw-string of 
narrow ribbon near the top of the bag, and the pretty little 
work-basket is finished. 



412 



Winter. 



The croquet ball you can make into a 

Key and Button-Hook Rack. 

First you must gild it, and then around the middle of the 
ball, at regular intervals, insert small brass hooks. A yellow rib- 
bon and bow, tacked on the top with small tacks, 
will serve to suspend it by, and completes the rack. 
With the gilt left from gilding the ball, and a 
piece of bright ribbon you can make a 

Paper-"Weight 

of six of the large nails. Gild each nail separate- 
ly, let them dry, and then tie them securely to- 
gether with a piece of ribbon. 





Key Rack. 



Paper-weight. 



All the articles brought from the attic have now been turned 
to some use, but there are many other things to be found there 
which we have not space to mention, and which with little 
trouble can be so transformed that no one would ever suppose 
they were taken originally from a heap of rubbish. 



^L^s/^-^ 




CHAPTER XXXVII. 

HOW TO MAKE ATTRACTIVE BOOTHS AT 
FAIR— A NEW KIND OF GRAB-BAG. 




ECIDING to have our fair un- 
like those which have preced- 
ed it, we must do away with 
monotony and introduce not 
only variety, but originality as 
well. New ideas, something 
different from that which has 
served us heretofore, 
is what we strive for. 
Novelties are always 
attractive, let them 
be decorative also, 
and help to make the room or hall as inviting as possible. 

The Tables 

being the most important item, we will give them our first 
attention. Have each table or booth canopied in a style dif- 
fering from all others, and make the canopy extend up as high 
as practicable, in order to avoid the flat, blank appearance so 
common in small fairs. If tables are arranged in this fashion, 
they will go far toward decorating the hall. Fig. 336 shows 
one style in which a framework for the roof or covering may 
be constructed. At the four corners of the table, where the 
top projects over the sides, fit in blocks of wood according to 
Fig- 337 ; the dotted lines represent the block. Nail the wood 




The Fair. 



How to Make Attractive Booths. 



415 



fast to the table, so that the uprights may stand perfectly 
straight. Use laths or similar sticks for the four uprights, and 
screw or nail them at the corners 
of the table according to Fig. 
336 ; then with small screws fast- 
en a stick across the top of the 
laths at each side, and at the top 
of the sticks on the front of the 
table tie the two ends of a barrel- 
hoop to form the arch ; also at- 
tach another hoop at the back to 
the other two uprights, and con- 
nect the top centre of each by a 
wire running across. The hoops 
are fastened to the laths by bind- 
ing the ends of the hoops to the 
ends of the laths with strong 
twine, or wire, wound around in 
notches which have previously 
been cut 




Fig. 336.. 



Framework for the Canopy of 
a Booth at a Fair. 



in the ends of both sticks and hoops. 

Should the barrel-hoops be too short for 

the arch, take children's large-sized toy 

Fig. 337. — Block of wooden hoops, and fasten them up in the 

Wood Fastened on tt" -^o • ^1 

the side of Table. ^ame manner. Fig. 338 is another way 
to arrange the framework. The four up- 
right sticks are attached to the table as described in Fig. 
336 ; then in the top of each is driven a very large- 
sized tack, and a strong flexible wire is stretched from 
lath to lath and wound around each tack, thus connecting the 
four uprights together.* Flags, shawls, drapery curtains, sheets, 



If the uprights seem to need it, brace them with cross-sticks in place of wire. 



4i6 



JVinter. 



and inexpensive cheese-cloth make good canopies ; undressed 

cambric and canton flannel in desirable colors drape nicely, 

and can also be used for the purpose. 
Where you wish to produce light, 
airy effects, tarlatan, in one or more 
colors, will be found useful ; again, 
let some of the tables have only a 
suggestion of a roof, made by orna- 
menting the framework with flowers, 
or whatever is most suitable, accord- 
ing to the style of table and the place 
it is to occupy. 

Try and have a variety of shapes 
and sizes In the booths, and avoid 
sombre dulness and monotony. Let 
the room fairly sparkle and shine 
with light and color. 

To make a tent-like covering, 
firmly bind a large-sized Japanese 

umbrella to a pole, and fasten the pole in the centre of the 

table. To hold it securely, make a bench of two pieces of 

board, with a hole through the centre of each, and join them 

together by a block of 

wood nailed in each end 

(Fig- 339)- The bench 

can be made fast to 

the table by screws put 

through from the under 

side of the top of the 

table. 

the 




Fig. 338.— Construction of Frame- 
work for the Canopy of a Table 
at a Fair. 




Fig. 339. 



In erecting 



-Bench for Holding a Pole as a Support for 
a Canopy of a Booth. 



can- 



opy place the end of the pole in the bench and it will be steady 
and firm. Attach pieces of string to several ribs on each side 



How to Make Attractive Booths. 



417 



of the umbrella, stretch the strings down and fasten the ends 
securely to the table ; paste over the strings bright-colored 
tissue-paper fringe (Fig. 340). Cut the paper four or six thick- 
nesses, and when pasted on turn the fringe part uppermost, so 
it will look fluffy and not hang down in a tame, fringe fashion. 
When a red umbrella is used, and the strings are covered with 
fringe of the same hue, it looks very pretty. Be extremely care- 
ful that no light comes dangerously near the tissue-paper, or 
any other inflammable material ; all the decorations must be 
arranged with a view to perfect safety from contact with gas, 
lamp, or candle. 

In decorating the room remember to mass your color so the 
effect may =r:^=z=z==^=: 
be broad. 

If the colors are too much 
mingled the effect will be 
weakened, and in some cases 
lost entirely. 

Paper-flowers and plants 
in great abundance will be 
needed, and if you can per- 
suade all your friends, as well as those actively interested in the 
fair, to make paper-flowers or plants, they will prove very ac- 
ceptable, and after the fair is over the floral decorations can 
be safely stored away to do service again on like occasion. 
Large, showy flowers, like peonies, dog-wood, and magnolias, 
'as well as large-leaved plants, are best to use, though the 
smaller ones look well in a few places. 

In making 

Flowers for Decorations 




Fig. 340.— Tissue-paper Fringe. 



we aim at general effect, with less regard to detail than if the 
blossoms were to be used in other ways. Fig. 341 is a pat- 
27 



4i8 



Winter. 




Fig. 341. — Dog-wood. 



tern of the dog-wood. Cut the flowers of white writing paper 
-and make them quite large. Use wire to fasten them to a 
natural branch, and imitate nature as 
nearly as possible in the arrangement of 
the blossoms. 

If you fold the paper a number of 
times and then place your pattern over 
it, you can cut out six or eight flowers 
at once, and save both time and labor. 

Peonies are made of white, pink, or 
red tissue-paper, cut in squares of about 
eight inches each and pinked on the two 
opposite edges. Twelve squares are needed 
for one flower. With your fingers gather the 
squares up in the centre (Fig. 342) ; then fold 
over the pieces, as in Fig. 343 ; when all are 
ready string them on a wire and shape the 
bunch to resemble a peony ; twist the wire 
up tight and fasten the petals together, leav- 
ing a length of wire for a stem. 

Make the cherry-blossoms (Fig. 344) in 
clusters of five or seven each, and attach green 
leaves (Fig. 345) cut in different sizes. Fig. 

346 shows the method of giving the leaf a 
pretty, crimped appearance. By holding 
the point of the leaf firmly under the head 
of the pin with your left hand, and with 
the right hand pushing the leaf up toward 
the head of the pin, you can crimp the 
leaves very rapidly, and they look much 
more natural than when left plain. 
All the materials necessary for the manufacture of flowers 
for fair decorations will be paper, wire, and paste. The buds 




Fig. 342.— Peony Petal 
Gathered through the 
Centre. 




Fig. 343,— Peony Petal 
Folded over. 



How to Make Attractive Booths. 



419 





Fig. 344.— 
Cherry 
Blossom. 



Fig. 345. — 
Grieen Leaf 
of Cherry 
Tree. 




of different flowers can be imitated by pinching together the 
petals of open blossoms. Figs. 347, 348, 349 are the petals 
of the magnolia ; the inside petals are five and one- 
half inches long, the others in proportion. Cut three 
of each size. No. 347 forms the innermost petals, 
No. 348 the next, and No. 349 the outer- 
most ; these last should be double ; make 
the outside of pink tissue-paper and the 
inside white, all the other petals are white ; 
cut three, from Fig. 350, of green paper to 
form the calyx. 

Other ornamental flowers may be manu- 
factured from these hints. Patterns can 
be cut from any natural flowers, and 

they may be 
made without 

Fig. 346.— Method of Crimping Leaf. . , _ ^ 

the aid 01 fur- 
ther directions. When natural blossoms can be obtained, they 
are far preferable, 
though the paper 
plants make splen- 
did substitutes and 
at a little distance 
cannot be distin- 
guished from the 
natural ones. 

If the fair comes 
off in the season 
when the trees are 
leafless, bare 
branches with green paper leaves wired on will help very much 
where foliage is needed. 

An excellent scheme in the arrangement of a fair is to divide 




Fig. 347. 



Fig. 348. 



Fig. 349. Fig. 350. 



420 IVinter. 



the tables into twelve separate booths and let each one represent 
one month in the year. They should contain articles appropri- 
ate only to the month represented, and when planned in this 
way each month should be of appropriate color. For example : 

December 

can be all white, with tufts of cotton scattered about for snow, 
and mica or isinglass sprinkled around and over places to rep- 
resent frost and ice. Icicles, varying in size, depending from 
the arch or canopy, add to the effect. The icicles are made of 
strips of paper first rolled up like paper-lighters, then com- 
pletely covered with tallow from the dripping of a lighted 
candle ; the tallow being allowed to harden on in raised places 
makes the twisted paper resemble in form a real icicle ; the 
tallow icicle is next covered with a wash of mucilage, and 
powdered mica or isinglass is sprinkled all over It, so that It 
sparkles and shines. 

In place of the usual grab-bag at this booth, there should be 
a Christmas-tree without lights and burdened with little gifts 
tied up in colored tissue-paper. Santa Claus must have charge 
of the tree. 

July 

calls for flags and decorations of red, white, and blue, as well as 
flowers, fruits, and green foliage ; the table should be presided 
over by Columbia. 

May. 

Deck this table in spring blossoms and make the canopy of 
a slender May-pole. Pass the pole through the holes in the 
bench (Fig. 339) and screw the bench tight on the centre of 
the table ; fasten a wreath of flowers and the ends of a number 
of ribbons at the top of the pole ; bring the ribbons down and 



How to Make Attractive Booths, 421 

tack them to the sides of the table. Give the Queen of May- 
care of the booth. 

November 

may be gay with late fall leaves and berries, and a very large 
pumpkin, which has been previously scraped out and lined 
with paper, can serve as a receptacle for odds and ends. A 
little Puritan maid should be in charge of the booth. 

June 

is all rose color, with the queen of flowers, the rose, holding the 
post of honor. This month is very suitable for the flower-table, 
and Flora, the Goddess of Flowers, may preside over it. 

We have chosen these few months only as suggestions of 
the manner in which the idea can be carried out. 

Those in charge of the different booths might wear as a 
badge a conspicuous sign of the zodiac appropriate to the 
month represented. 

The Five Senses 

can be illustrated by five booths, each one bearing its proper 
symbol as a sign. To represent 

HEARING, 

make a large pasteboard ear-trumpet and cover it with silver 
paper ; fasten this on the highest point of the booth and place the 
word Hearing in large letters under the trumpet ; have these 
signs in plain sight, where none can fail to see and read. The 
articles on the table should consist of everything pertaining to 
the sense of hearing, such as sheet-music, musical instruments, 
telephones, and suitable toys. 

It would be a great addition if a phonograph could be 



422 Winter, 



rented or borrowed for the occasion, and a certain sum charged 
to each one speaking in the instrument and hearing the echo of 
his own words and tones ground out to him again. 

An oracle would be a capital thing at this table, each per- 
son consulting it paying so much a question. 

SEEING 

likewise must be labelled with a sign in the shape of a very large 
pair of spectacles cut out of stiff pasteboard and placed over the 
lettering. 

The goods offered here for sale should pertain to the sense 
of sight ; and could be such articles as pictures, decorated 
candles, kaleidoscopes, and common blue glasses. All things 
pleasing to look upon may find place at the Seeing Table. 
Any kind of a peep-show can be used, five cents being required 
from every curious person wishing for a peep behind the cur- 
tain. 

FEELING 

is more difficult to portray. Perhaps an ordinary riding-whip 
will answer the purpose, with the word Feeling in large type 
under it. 

Sofa-cushions, quilts, mittens, canes, muffs, fancy toilet 
articles, and almost anything adding to our personal comfort, 
or pleasant to handle, are suitable for the Feeling booth. 

TASTING. 

As an emblem for this booth make a huge cornucopia for 
candy, with the sign " Tasting " beneath, and the booth can be 
the candy-table. 

SMELLING 

naturally suggests perfumes and sweet-scented flowers. This 
sense will most fitly be represented by an immense bouquet 



How to Make Attractive Booths. 



423 



fastened up over the table. The booth, of course, must be the 
flower-table. 

If you have only a few tables, make four booths of them, and 
let each booth represent a season. They should be decorated 
in keeping with the time represented, and the idea fully car- 
ried out in all the details. 

When the booths stand for different nations there is a great 
field for variety and beautiful decoration. But in this, as in all 
cases where an attempt is made to carry out an idea, it must be 
faithfully adhered to, or the effect will not be that intended. 

When it is necessary to decorate the 



Walls 



use flags, bright, soft draping cloth, and large palm leaves ; 

also branches of leaves, showy flowers, and anything that can 
be arranged to look well. As rooms differ so 
much in size and style, it is impossible to give 
any but general directions, leaving it to the taste 
of the decorator to carry out the 
details. 

Grab-Bags. 

On a narrow sheet hung up in 
a door-way, and fastened secure- 
ly at the sides, or attached to a 
frame, cut a hole large enough to 
allow of a false face being fitted 
in (Fig. 351 A). The flaps of the 
cloth are left for pasting inside the face ; now 
cut two more holes for the arms to pass through 
(Fig- 351 B). In these holes sew sleeves of the same material 
as the skirt, which is made of bright-colored cambric in the 




Fig. 351.— G-rab- 
bag of a Sheet 
with Holes Out 
for Face and 
Arms. 




Fig. 352.— Apron 
Skirt Sewed on. 
Sheet. 



424 



Winter, 




form of an apron, and 
sewed on the sheet 
(Fig. 352). The sides 
of the skirt are basted 
down on the sheet. 
When pasting in the 
false face, first cover 
the flaps, left at the 
opening for the face 
with stiff paste ; then 
paste these flaps down 
into the inside of the 
false face, which will 
bring it up close 
against the sheet. If 
small openings are left, 
or the sheet puckers a 
little after the face is 
fastened on, never 
mind, as all defects 
can be covered by- 
sewing on a thin white 
frill all ' 



Fig. 353.— Grab-bag. 



to form a cap, and making 



around 
the face, 
a collar of the same 
material (Fig. 353). 

Leave an opening, or pocket-hole, through 
the sheet at one side of the dress, so that the 
hand can be slipped through to get the packages, 
which are placed within reach at the back of the 
curtain. Fig. 354 shows the ijnside of the sheet, 
and C the opening for the hand. Someone must 





o o 





Fig. 354.— Inside of 
Sheet for Grab- 
bag. 



How to Make Attractive Booths. 425 

stand or be seated behind this curtain, and sHp her arms into the 
sleeves, then she can look out through the mask and see with 
whom she is talking. In one hand she may hold a package, 
while she receives the money with the other. 

On the sheet print these words : " Five cents for what is in 
my pocket." 

The Lady of the Lake. 

You will need a tin bath-tub for the lake, the longest one you 
can find, and a toy boat which will not easily tip or turn over. 
Place tiny flags in the bow and stern, and in one end of the 
boat glue a doll dressed like the ''Lady of the Lake" in Scott's 
poem. Attach a pulley to each end of the tub, and fasten the 
string to the boat, as it must be run back and forth by means of 
the pulleys. Fill the tub nearly full of water, then cover the 
edges with moss and vines. The bath-tub must be completely 
disguised, and surrounded by plants and foliage, with an opening 
left at one end for purchasers, and another small one near the 
other end for the boat to pass through to those stationed be- 
hind the shrubbery, who have charge of the boat, and where the 
parcels are kept. At the store-room end the screen of vines 
or leaves should be so arranged that those in charge can see 
all that is going on outside without being seen themselves. 

The boat should be stationed at the farther end of the lake, 
and whoever wishes to make a purchase must give the doll five 
cents ; then the boat may immediately leave, sail across the 
lake, and disappear behind the screen, only to emerge again 
laden with a parcel in place of the money, and lightly skimming 
over the water arrive at her destination, when the purchaser 
can relieve the '* Lady of the Lake " of her package. 

The Bubble Range described on page 335 can be used in a 
fair with advantage. Unless the fair is very small, it is bet- 
ter to have two Bubble Ranges, to prevent the tiresome waiting 



426 



Winter, 



for a turn, and give all who wish to try their skill the oppor- 
tunity to enjoy the sport. 

Fortune's Wheel. 





Fig. 355.— Circle for 
Fortune's Wheel. 



Cut of stiff pasteboard a large circle (Fig. 355) with a point 
on the edge at the end of one of the spokes, for the circle must 
be painted to resemble a wheel. With a large 
round nail fasten the wheel through the centre 
to a board, which has previ- 
ously had numbers painted 
on in a circle somewhat 
larger than the circumfer- 
ence of the wheel (Fig. 
356) ; the wheel should 
turn around easily on 
the nail. Hang the board up flat 
against the wall. The gypsy in 
charge of the Fortune's Wheel 
should be stationed by its side, 
holding a basket filled with many 
envelopes numbered to correspond 
to the figures on the board, each 
envelope containing some appro- 
priate fortune-telling lines ; and 
when the people come to seek 
their fortunes the gypsy must al- 
low each in turn to give the wheel 
a twirl, sending it around rapidly, 
and then hand to the fortune- 
seeker an envelope whose number 
corresponds with the figure at which the wheel pointed when it 
stopped turning. 



Fig. 356.— Fortune's Wheel. 



How to Make Attractive Booths. 



427 



Rag-Balls. 

Prepare a number of carpet-rag balls with a small gift in the 
centre of each one. These sell rapidly, and it is very amusing 
to see the buyers unwinding their balls to discover the contents, 
which may prove to be a thimble, a bundle of jackstraws, a 
grotesque Japanese toy, or any little comical conceit which can 
be hidden in the odd receptacle. 

The same idea might be applied to the always pleasing pop- 
corn balls ; then the knick-knacks must be first wrapped in soft 
paper to protect them from the candy used in making the balls. 

Pleasant mysteries and surprises are always popular at fairs, 
and the more that can be invented the better. 




Window Decorated with Imitation Stained Glass and Dutch Curtain. 



CHAPTER XXXVIII. 




WINDOW DECORATION. 

*0W, girls, we must have practicable 
ideas in regard to our decorations ; 
they should consist of something which 
we know will be easy to make and at 
the same time look well ; the ma- 
terials employed must be within possi- 
ble reach of all, and nothing expensive 
or difficult to obtain allowed to enter 
into their manufacture. What are com- 
monly called Dutch curtains are very popular ; they are short 
curtains of some thin, transparent fabric, fastened with rings to 
a slender rod of bamboo, and when drawn, cover the lower part 
of the window without intercepting the light. The curtains 
are very useful, but, while they do not obstruct the light, they 
do obstruct the vision. 

We all know that the front window is just the place to sit 
when sewing or doing fancy-work, and although few ladies care 
to be seen by every passer-by, yet they all like to see what is 
going on outside, and while their deft fingers ply the needle 
their bright eyes take in the landscape out of doors and de- 
rive amusement and entertainment from the birds and flowers, 
if it be in the country, or the ever-moving throng, if in the 
city. 

An ornamental screen, therefore, that will shield one and 



430 



Winter. 



yet not interfere with the view is desirable. What might be 
termed the 

Oriental "Window-Shade 

not only comes up to the above requirements, but is inexpen- 
sive, and not difficult to construct. 

Make a small lawn-tennis net, long enough to reach across 
the width of the window and about eight inches deep ; make 

loops of the rope on the ends for 
hanging the screen to knobs or 
hooks screwed in the framework 
of the window ; spread the net 




out and fasten it up on a door, 

"between two chairs, or any convenient place; 

then cut a number of pieces of fine twine, about 

Fig. 357— Manner of four fcct loug, and attach 

^rSmfi^^ot- them, a quarter of an inch ' 

shade. apart, along the bottom rope 

(Fig. 357) ; A shows a loosened loop and B the 
tightened ones. The ends of the twine hang 
free. On each double strand string glass beads 
and slender pieces of bamboo, reeds, painted 
clay pipe-stems, or macaroni broken in pieces of 
equal length and used in their natural color, or 
painted with oil-paints to any desired tint. Have 
the reeds four inches long, and thread them on 
alternately with the beads (Fig. 358) ; or you can 
form a design by cutting the reeds into different 
lengths ; at the end of each strand fasten a large 
bead or glass button. A very simple 

Ribbon-Curtain 
is of red, blue, yellow, and black ribbons all cut 
the same length and sewed, a quarter of an inch ^Macafoi^^ndBeads. 



UUQ 



Window Decoration. 431 

apart, on a narrow strip of black cloth long enough to reach 
across the window. The strip may be used as a band, or at- 
tached to a slender pole by means of small brass rings. 
The ribbons should be silk, and thin enough to admit 
of the light shining through ; they hang down fringe- 
like, with three glass beads fastened on the end of 
each ribbon (Fig. 359 or Fig. 360). If you 
prefer to have the shade all one color make p. ^^^ 
it yellow, which gives a pleasant, mellow 
light. Any pattern you choose can be made by 
taking short pieces of ribbon and joining them to- 
^\i/^ gether with glass beads. In this way bits of ribbon 
>^ could be utiHzed, but those used must be semi- 
Fi 36 _ transparent, showing the color when held up to the 
Beads on the light. Evcn smooth pieces of silk with their edges 
boiis^° ^ ' "^^tly hemmed might do service, only be very care- 
ful to join either ribbon or silk with the beads in 
such a manner as to prevent its twisting ; the beads must be 
heavy enough to keep the fringe straight. 

Nearly all homes have their bags of silk and worsted pieces, 
and from these can be made a handsome 



Drapery of Very Small Scraps. 

Cut the pieces of silk or worsted into squares about an inch 
each way, using any and all colors ; then take a piece of twine 
of the length you desire your curtain, and with a large needle 
string the bright bits on the twine until the whole string is 
completely and closely covered ; next fasten the twine well to 
prevent its slipping, and with a large pair of scissors trim off the 
rough edges of the silken strand until the surface is rounded and 
even ; on one end attach a small brass curtain-ring, and on the 
other a heavy bead or button ; make as many strands as you 



432 Winter. 



will need to hang across the window and fasten them to a pole 
in which small hooks have been screwed. 

This drapery resembles chenille ; it is rich in color, will wear 
well, and is best adapted for full-length curtains. 

As a substitute for stained glass we give directions for 

Painting Window-Panes. 

These are very pretty and satisfactory. If good designs are 
chosen the window will surpass in beauty your expectations. 

The materials necessary are : some of Winsor & Newton's 
transparent colors, such as rose-madder, Prussian blue, raw 
and burnt umber, burnt sienna, ultramarine, gamboge, ivory- 
black, viridian green, and orient yellow. Any transparent 
color can be used. For purple, mix rose-madder with Prussian 
blue. 

Prepare the paints to be used by mixing each color sepa- 
rately with a little oil and siccatif Courtray. Almost any brush 
will do to paint with, but one of medium size made for oil- 
colors is the best, and another smaller one is necessary for the 
outlining, which takes the place of leading in stained glass. 
The dabber is a ball of raw cotton tied in a piece of fine cotton- 
cloth, and the manner of tinting or grounding is exactly the 
same as in china-painting; lac-varnish will be needed as a wash 
after the painting has dried. 

When you have an opportunity, carefully examine real 
stained-glass windows, and you will see that each window is 
one complete design. The corners and borders are usually in 
rich, dark colors, while the central portion is of lighter tints or 
clear glass. 

Always make your corners and borders first, and if you de- 
sire a centre-piece, it should be placed in position next, and the 
space between it and the border filled in afterward. A Gothic 



Window Decoration. 



433 



window may be imitated by painting the corners black, thus 
making it arched at the top. Yery often good patterns can be 




Fig. 361.— Border Pattern. 

found in the many art and fashion papers. One copy may 

serve for an entire border, if it be pasted at the four corners to 

one pane of glass, and, when that is outlined, removed and 

gummed to the next, and so on until the border is finished. 

Fig. 361 is intended as a border. 

Fig. 362 is a very simple pattern 

of cracked glass, which you can 

readily make without any copy. 

Place a ruler across the woodwork 

of the window-pane, first one way, 

then another, and with its aid paint 

your straight lines, being careful 

not to have any two run parallel. 




Cracked Glass. 



ways to be preferred. 
28 



A conventional design is al- 
Should any mistakes occur during the 



434 Winter, 



progress of the work, remove the paint with a cloth dampened 
with turpentine and try again. The painting is not difficult, 
and the only delays are in waiting for the colors to dry. 

First decide on your design, then trace it, making the out- 
lines heavy and black ; gum the pattern by the four corners to 
the outside of the window-pane, which it is essential to have 
perfectly clean and dry ; close the window, and with a small 
brush dipped in black paint follow the outlines of your copy, 
keeping the lines of equal thickness throughout ; when this is 
finished remove the pattern. In the same manner go over all 
the outlines you wish to make on the window, then leave the 
color to harden and dry, which will probably require hours. 
Begin again by laying on flat washes of paint to match the pre- 
vailing colors of the copy, and use the dabber in tinting each 
color as it is applied, so the surface may be even and uniform. 
While the decoration is drying it is best to protect it from dust 
by pinning up a newspaper or a large piece of cloth on the 
window-frame. When dry, the painting can be touched up if 
necessary. 

After the last color has entirely dried apply a wash of white 
lac-varnish ; when this is dry give the window another coat of 
lac-varnish and then it will be finished. Should your copies be 
in black and white, use your own taste in coloring the glass. 

Another method of imitating stained glass is 

Painting on Lawn, 

batiste, or any kind of sheer white muslin. For this you will 
need the same paints that are used for painting on glass ; these 
are mixed only with turpentine and the color put on as a stain. 
Cut a piece of new thin white batiste large enough to cover 
a window-sash, with a margin left for turning in, and make 
an outline on it of the exact size of the sash : then select 



IVindow Decoration, 435 

your pattern and place the lawn over it, when the outlines 
should show through ; trace these carefully with gum-arabic dis- 
solved, but made very stiff, and when the entire design has been 
traced let the gum dry ; then go over it with ivory-black un- 
mixed ; this latter makes the leading ; be careful to keep the 
lines even and of the same size. When the outHnes have dried 
fill in the spaces with the stains made of paint and turpentine ; 
the gum prevents the colors from spreading. When the paint 
has dried you may add a few touches where they are needed, 
and the stained-glass design will be ready to place on the 
window. Use stiff mucilage or tiny tacks to keep it in place, 
having first turned in the margin left for the purpose. 

An attractive window can be made with the upper sash of 
imitation stained glass, while the lower one is screened by a 
Dutch curtain, as in the illustration. 

For the benefit of those who prefer sewing to painting we now 
tell how to 

Imitate Stained Glass 

with a piece of stiff" white rice-net, such as is commonly used for 
bonnet-frames, and some pieces of thin batiste, or lawns, of the 
requisite colors. Cut the rice-net the proper size and lay it over 
your design ; then carefully trace off the pattern ; when all the 
outlines are finished cut the different-colored lawns of the shape 
and size to correspond to the different portions of the design ; 
baste these on in the places they must occupy ; then sew them 
on with the Automatic Sewing-machine, following with coarse 
black thread the outlines on the wrong side of the foundation, so 
that the chain-stitch will appear on the right side to form the 
leading ; or the stitching may be made by hand, or a very narrow 
black braid can be used as leading. When all the batiste is 
sewed on, cut out the net back of the design to allow the Hght 
to shine through. 



436 



JVinter. 



We have seen such an imitation of stained glass, and when 
placed up against the window it was very good ; but care must 

be taken to have the colored 
lawns thin and of the right 
shades ; if too heavy they ob- 
struct the light and the colors do 
not look bright. 

For full-length window- 
drapery of inexpensive material 
there may be had at any of the 
leading dry-goods stores beau- 
tiful soft fabrics, in yellows and different colors, the designs 
of which equal those of much higher-priced goods. These 
draperies hang in graceful folds and come as low as ten cents a 
yard ; some of them are also well adapted for the useful Dutch 




Fig. 363,— Imitation of Ground Glass. 



curtams. 



Windows of Imitation Ground Glass 



Fig. 364.— Folded Paper with Diamond Pattern for 
Imitation of Ground Glass. 



•can be made of white tissue-paper, cut in simple patterns and 

fastened on the inside of the glass with white lac-varnish. 

The window must be 

perfectly clean and dry. 

If possible have the 

pieces of tissue-paper 

exactly the same size as 

the window-panes, fold and refold the paper lengthwise until it 

is an inch or so in width; 
then cut from stiff card- 
board your pattern. If it 
be a diamond, as in Fig. 
363, have it exact, and 

cut it in halves ; use one-half as a pattern, place this on the 

€dge of the paper, as in Fig. 364, and with a lead pencil draw a 




Fig. 365.- 



-Paper Marked with Design for Imita- 
tion of Ground Glass. 



Window Decoration. 437 

line around it ; remove the pattern and place it lower down 
about a quarter of an inch from the first tracing, and again 
mark around the edge. Continue in the same way until you 
have the pattern marked on the entire length of the tissue- 
paper. Make the same pattern on the other edge of the paper 
(Fig 365). Cut out the pattern, then unfold the paper and 
smooth it free of wrinkles ; give the window-pane a thin coat- 
ing of white lac-varnish, and apply the paper, being very care- 
ful to have \\. perfectly smooth when on the glass. Sometimes 
it is necessary to join two or more pieces of paper, but if you 
are careful to make the edges come exactly together, the joins 
will not be noticeable. 

Lac-varnish dries very quickly, and it takes only a short time 
to decorate a window in this manner. 

When all the panes of glass are covered with tissue-paper, 
finish by varnishing each one with the white lac-varnish ; at 
a little distance it is difficult to distinguish a window so covered 
from one really formed of ground glass. 

For bath-rooms, or where the window is rather out of the 
way and the outlook not agreeable, the imitation of ground 
glass is suitable and useful. 




CHAPTER XXXIX. 



FURNITURE OLD AND NEW, 




NLY the other day we were appealed to by 
a friend for suggestions on how to furnish 
a room prettily, and at the same time in- 
expensively, and we know that there are 
many girls like this friend who, loving to 
surround themselves with beauty and com- 
fort, have not the means of doing so in the 
ordinary way ; but must depend largely 
upon their own skill and ingenuity for the 
gratification of this taste. After all, there 
is more real pleasure in planning and contriving the furnish- 
ing of one's room, even with only a small sum for outlays, 
than there is in ordering a set from the furnishers which is 
exactly like a hundred others. In the former case we make 
our room expressive of our individuality ; in the latter we walk 
in the beaten track of those who have little or no individuality 
to express. 

So much for the sentiment of the idea. Now let us turn to 
the practical side, and find the best way of carrying it out, and 
putting our theories into practice. 

In mentioning old furniture in the heading of this chapter, 
we do not allude to the antiques in such high favor just now ; 
they are unique and handsome enough in themselves, requiring 
no contriving to beautify them ; but there are few families who 
do not possess furniture that is out of date, old-fashioned without 



Furniture Old and New. 



439 



being antique ; furniture that time and hard usage has reduced 
to a state of shabbiness anything but beautiful, yet not worth 
sending to the cabinet-makers to be furbished up. It is the 
renovation of such furniture that will help much toward making 
a room pretty and attractive. 

We need not attempt to restore the furniture to its original 
state, that would be impracticable. But we can work wonders in 
transforming it ; in turning a homely article into one that will 
be an adornment instead of a blemish. 



Bookcase. 



.-K 



Take, for instance, an old bureau 
belonging to a cottage set. The mirror, 
perhaps, is broken, or if it is not it can 
be used to better advantage elsewhere. 
Removing that, there is left merely a 
chest of drawers, which we will proceed 
to convert into a bookcase by the addi- 
tion of shelves placed on top. If you 
have a brother who is handy with his 
tools the matter is simple enough ; 
without him a carpenter may have to 
be employed to make the shelves, or, 
by taking the plan and measurements 
to a carpenter-shop the materials can be obtained ready for 
use, and all you will have to do will be to put them together. 
Although there is a saying that '*a girl can never drive a nail 
straight," we have reason to believe the contrary, and feel sure 
that a little "practice will enable most girls to do many bits of 
light carpentry work as well as the boys. Three feet is the 
height of a bureau belonging to an ordinary set of cottage furni- 
ture, so we will take that as our standard for measurement, and 
make our shelves according to it. 



Fig. 366.— Diagram of Book- 
shelves. 



440 Winter, 



Fig. 366 is the diagram for the frame of the shelves. The 
side pieces are made of boards three feet four inches long and 
nine inches wide ; the top of each of these boards is sawed 
into a point as shown in diagram. Four cleats made of sticks 
eight inches long and one inch thick are nailed to the side of 
each board, the distance between being nine inches. 

The frame at the back is composed of two boards five and 
one half feet long and seven inches wide, and two, three feet three 
inches long (the width of the bureau) and seven inches wide. 
One of these short boards is nailed across the top ends of the 
long boards, and the other twenty-four inches below. The side 
pieces are nailed to the back as shown in diagram, the nails 
being driven through the back board into the edge of the side 
piece. 

When the frame is made it is placed on the bureau, the sides 
resting on the top and the long back boards reaching down be- 
hind where they are nailed or screwed to the bureau. The 
shelves are thirty-seven inches long and nine inches wide. 
They rest on the cleats and are not nailed to the frame. 

Screws may in some places, answer better than nails. 

When the shelves have been adjusted, the whole is painted 
a dark olive green. 

If the knobs are removed from the drawers before the 
bureau is painted, and brass handles substituted afterward, it 
will add materially to its appearance. 

The bookcase shown in our illustration is finished off with 
curtains, which hang by brass rings from a slender bamboo pole. 
The pole is slipped through brass hooks screwed into the side 
pieces near the top. 

Curtains of canton-flannel, or any soft material, are suitable 
for this bookcase. The colors may be a combination of olive 
green with old blue, yellow, cherry, copper color, dark red, 
or light brown. 



Furniture Old and New. 



441 



The Chair 

in the same illustration is an ordinary rocking-chair painted 
olive green, with cushions at the back and in the seat stuffed 




Bureau Transformed into a Bookcase. 



with excelsior, covered with bright cretonne, and tied to the 
chair with ribbons. 



442 



Wmter. 



Chairs of this kind look well painted almost any color ; one 
of yellow, with yellow cushions and ribbons, is exceedingly 
pretty. 

If the chair to be remodelled is bottomless, reseat 
it in this way : Cut some strips of strong cotton cloth 
about one inch wide and sew them together, lapping 
one piece over another, as in Fig. 367 ; fasten an end 
on to the edge of the chair with a tack, and then pass 
the cloth back and forth across, each time putting it 
under and bringing it over the edge of the chair. 

When the seat is filled up with the strips going one 
way, cut the cloth and tack the end to the chair ; then, -^^s-^^^- 

commencing at the side, cross 
these strips, passing the cloth 
in and out as if darning. Fig. 
368 shows just how it is done. 
Be sure to draw the strip as 
tightly as you can every time 
it crosses the chair, for if too 
loose it will sag as soon as the 
chair is used. The edge of the 
chair may be covered with the 
cretonne, or a ruffle which is 
sewed around the cushion. 

Fig. 369 is an old settee fitted 

up with cushions, and a sociable, 

comfortable seat it is. It offers 

plenty of room for two, and ensconced thereon the girls may 

rock and talk to their hearts' content. 

These settees are not often seen in the city, but are to be 
found in many a farm-house and country town. The one from 
which our sketch is taken is painted black, but, like the chair, 
it would look well any color. 




Fig. 368.— How to Reseat a Chair. 



Furniture Old and New. 



443 



Fresh, dainty prettiness should be the principal feature of a 
young girl's room, and this can be obtained at very little ex- 
pense, much less than most persons suppose. 

Fig- 370 shows what can be done with the commonest 




Fig. 369.— Come and Sit Here. 



kind of furniture. This can be bought at the manufacturer's 
unpainted, and may be left its natural color and simply 
varnished, or, following the present fashion, it can be 
painted white, and decorated with slender bands or circles of 
gold. 



444 Winter, 



As in the illustration, 

The Bedstead 

should have drapery suspended over it. This gives a soft, 
pretty effect, and takes away its stiffness. Dotted swiss or 
thin cottage drapery answers the purpose nicely. 

Ten yards of material cut in two breadths of five yards each 
are required for these curtains. The breadths must be sewed 
together lengthwise and then passed through a small wooden 
hoop which has been gilded or painted white. 

When the hoop is directly in the middle of the breadths, the 
material must be brought together close to the hoop and two 
of the edges sewed or basted together. This seam is to go 
at the back and keep the curtain from parting and hanging 
in two strips. 

A ruffle of the same material, or lace, sewed on the edge 
and across the ends of the drapery gives it a soft, lacy effect. 
The ribbons which loop the curtains at either side should be of 
the prevailing colors of the room. If the furniture is white and 
gold, they should be yellow. 

The hoop can hang from a brass chain fastened to a hook 
in the ceiling. 

The bureau belonging to this style of furniture is too clumsy 
for our use, although without the mirror it will be convenient 
as a chest of drawers. Brass handles in place of knobs will im- 
prove it. 

A Dressing-table 

to take its place, like the one shown in Fig. 370, can be made 
of a small kitchen-table. The mirror suspended over it should 
have a broad flat frame of white pine, varnished or painted to 
match the furniture. Almost any cabinet-maker can frame a 
mirror in this way. Bracket candlesticks made of brass, wJiich 



Furniture Old and New. 



445 



are very inexpensive, should be fastened to the frame on either 
side of the glass with brass nails or brass-headed tacks. 




Fig. 370. — What can be done with Common Unpainted Furniture. 

With a brass handle on the drawer, a pretty scarf of linen 
crash, ornamented with drawn work or outline, thrown over the 



446 



Winter. 



table and hanging down at each end, and the addition of pin- 
cushion and toilet articles, this toilet-table looks very attrac- 
tive and readily chal- 



P^^^^S^Pli 




lenges admiration. 



Washstand. 



A piece of white mat- 
^^tf^3^\/j3ffi ting bound at top and 
bottom, with yellow cot- 
ton cloth for a splasher, 
as in Fig. 371, and a 
pretty scarf and toilet- 
set, presents this most 
ordinary washstand in a 
new light. 

Three common kitch- 
en-chairs and one rocker, 
when painted white or 
varnished, as the case 
may be, and cushioned 
in pretty light-colored 
cretonne, completes this 
novel, pretty, and re- 
'■>wi\\\> ■■• •'^:,\\M>"•■.4\\*■->n^!;^^^5'-AV^^^^^^ markably inexpensive set 

Fig. 371.— The Ordinary Unpainted Washstand in a of furniturC. 

^^ *^ *' The curtains next to 

the windows should be of .the same material as that used for 
the bed-drapery, with the inner one of cretonne like the chair- 
cushions. 

White matting is suitable for the floor in summer, and dur- 
ing the cold weather it can be mostly covered with a pretty 
ingrain rug or art square, as it is called. 



Furniture Old and New. 



447 



Instead of using gilt, the rings and bands on the furniture 
may be blue or red, in which case the trimmings of the room 
should correspond. 




Fig. 372 — Hall Seat Made of a Common Wooden Bench, 

A Hall Seat. 

As another illustration of what can be done with the most 
ordinary piece of furniture, we have chosen a common wooden 
bench, and by painting it black and giving it a dark-red cushion 
with tassels at each corner, have transformed it into quite an 
elegant hall-seat. Fig. 372 gives the effect. 



448 



Winter. 




Fig. 373.— Window Seat and Book-shelves Combined, Made of Boxes. 

Fig- 373 shows a 

Window Seat and Book-shelves Combined, 
made of boxes. Eight soap-boxes of the same size are required 
for the shelves, and a packing-box about two feet high, two 



Furniture Old and New. 



449 



feet 
seat. 



in width, and as long as the window is wide, for the 




Remove the tops and two sides of the soap-boxes, and bore 
holes with a red-hot poker in one corner of the bottoms of six 
of the boxes, and in two of the tops which have been removed, 
making the holes one inch from either edge (Fig. 374). In 
the other two boxes bore in the same place, but not entirely- 
through, making the holes about half an inch deep. 

Place these last two on the floor and pile the others on top 
of them, three on each, nailing the 
bottom of each box to the top edge 
of the one beneath it. On the two 
upper boxes nail the tops in which 
the holes have been made. 

Have ready two slender bamboo 
rods about four feet long. Insert a 
rod in the hole in the top of an 
upper box and let it pass down, 
slipping it through the holes in the 
bottoms of the other boxes and fitting it in the cavity in the 
lower box. 

In like manner put the other rod in place through the other 
pile of boxes. 

If the packing-box has a cover, it should be fastened on 
with hinges, so that it may be used for a shoe-box as well as a 
seat ; if it has not, turn it upside down, place the soap-boxes at 
each end and nail them to it. 

Paint the shelves black or the color of the wood-work in the 
room, and upholster the seat and the boxes on either side of it 
with cushions made of strong muslin stuffed with excelsior and 
covered with cretonne. 

Fasten the edges of the side cushions to the boxes with 
gimp braid and tacks. Make a deep plaiting of the cretonne 
29 



Fig. 374 Hole in Corner of Box 

for Book-shelves. 



450 



IVinter, 



and tack it across the front of the large box. When there is a 
lid a narrow plaiting must be tacked across its front edge, which 
will, when the box is closed, lap over the top of the deeper 
plaiting. 

That this combination of window-seat and shelves is both 
comfortable and convenient, one may easily imagine, and that 
it adds not a little to the furnishing of a room, we leave to 
our illustration to show. 




^.-c^ 



^^/x" 



CHAPTER XL. 

SOMETHING ABOUT MANTEL-PIECES AND 
FIRE-PLACES. 




HE spirit of hospitality and comfort pre- 
sides over the ruddy blaze of an open 
fire ; yet, as we gather cosily around and 
bask in the delightful warmth and radi- 
ance, its cheerful influence is too often 
retarded by its very unattractive sur- 
roundings. This lovely household spirit 
should have a more fitting habitation than 
the one frequently accorded it. The fire-place should at least 
be pleasant to look upon, and not depend wholly upon the 
bright fire to make it inviting. 

The ordinary marble and marbleized slate or iron mantel- 
pieces are the reverse of beautiful, but they may be very much 
improved at the expense of a small outlay of money, time, and 
trouble. 

The examples we give here of the treatment of common- 
place mantel-pieces are simple, and can easily be managed by 
the girls themselves, with but trifling aid from a carpenter. 

In a room occupied at one time by a young friend of the 
writer, there was an old-fashioned white-pine mantel-piece. 
It was stiff and plain, with no attempt at ornamentation, and 
the border of white marble, about five inches wide around the 
fire-place, was apparently inserted to protect the wood from 



452 



Winter. 




Fig. 375.— Shelves over Mantel- Piece. 



Mantel-Pieces and Fire-Places. 453 

the heat of the fire, and not for beauty. A hint from the 
writer was sufficient to set this girl's brain and fingers to work. 
Soon the white-marble border was transformed into a row of 
blue and white tiles, which were not only pretty and appropri- 
ate, but were also the means of dispelling the impressions of 
coldness and hardness the marble gave. 

The manner of effecting this transformation was simple 
enough. First the marble was divided into squares, the lines 
being painted black ; then conventional patterns were sketched 
with a pencil on the squares and painted in blue, oil-paints 
being used for the purpose. 

How the mantel-piece was otherwise reformed, the writer 
never saw, but it might have been greatly improved and altered 
by the addition of shelves above, or a suitable lambrequin upon 
the mantel-shelf. However that may or might have been, the 
tiles were a successful bit of work, and the painting of them 
within the capabilities of almost anyone. Then why should we 
long in vain for a tiled mantel-piece, when we have it in our 
power to gratify the wish ? 

On a plain white-marble mantel a border around the fire- 
place may be marked out, and a set of tiles painted, which will 
look just as pretty as any that can be bought. 

If the rest of the marble is painted black or brown, the tiles 
will look as though they were set in, and the contrast will make 
them more effective. 

Fig. 375 illustrates our suggestion of putting shelves over 
the mantel-piece. The braces can be bought at any hardware- 
store, and the shelves may be of black-walnut or pine boards, 
stained or painted to match the mantel-piece. 

Fig. 376 shows the effect of a mantel-shelf covered with en- 
amel-cloth made in imitation of leather. The color of the mate- 
rial used for the one from which our sketch is taken is dark red, 
and has a dull, soft finish like Russian leather. It is ornamented 



454 



Winter. 



with small brass curtain-rings sewed on in points or pyramids; 
a strip of enamel-cloth is also put behind the shelf, and at the 
top edge a piece of narrow gilt moulding is tacked. 




Fig. 376 — Mantel-Shelf covered with Enamel-Cloth ornamented with Brass Curtain-Rings. 



A mantel-board of pine, two inches longer and two inches 
wider than the shelf, is always necessary when there is to be a 
lambrequin, for upon this the lambrequin is tacked. 



Mantel-Pieces and Fire-Places. 



455 



First, the board must be neatly covered with the material, 
enamel-cloth or whatever is used, the edges of the cloth being 
brought over and tacked under the edge of the shelf; then the 
strip composing the lambrequin must be turned in at the top 
edge and tacked across the front and two ends of the board 
with brass-headed tacks. It looks better if the corners of the 

board are rounded as 
shown in illustration. 
The piece at the 
back of the shelf 
should be about 
eighteen inches deep 
and must be tacked 
at top and bottom 
with small tacks, the 
edge at each end 
being turned in and 
tacked to the wall 
with brass-headed 
tacks. 

Fig. 377 is the 
diagram of enamel- 
cloth ornamented with brass rings, and shows a section of the 
pattern. The bottom row of rings should be sewed on first, 
and the edge of the cloth turned up as the rings are fastened 
on. The stitches which hold the rings catch the hem also. 
This first row of rings should extend half way below the edge 
of the cloth, as shown in Fig. 377. Strong yellow embroidery- 
silk or saddlers' silk is the best to sew them on with. 

The gilt moulding can be bought by the foot and small 
headless nails are furnished to tack it with. 

Another mantel is treated in very much the same manner 
as Fig. 376, the difference being that, instead of enamel-cloth, 




377. — Enamel- Cloth ornamented with Brass Rings. 



456 



Winter, 



the covering for the shelf and the piece at the back are dark-red 
canton- flannel, and around the edge of the shelf is tacked a 
worsted fringe, about six inches deep, matching the canton- 
flannel in color. This has a warm, comfortable look and is quite 









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Fig. 378.— Shelves around Projecting Chimney. 

appropriate for a bedroom, while the other should be used only 
in a library or dining-room. 

The writer was once invited into a young girl's room which 
was very attractive in its daintiness. It was not pretty in shape, 
and an uncompromising chimney, in which there was no fire- 



Mantel-Pieces and Fire-Places. 



457 



place, projected into the room ; but taste had overcome these 
difficulties, and the effect produced was decidedly pleasing. 

Pretty wall-paper and the arrangement of the furniture helped 
very much, but the greatest triumph was in subduing the awk- 
wardness of that chimney by surrounding it with a set of shelves 
for holding pretty bits of bric-a-brac. 

In case another girl may have the same difficulty to sur- 
mount in decorating her room, we give an outline drawing of 
the shelves (Fig. 378) that she may see and profit thereby. 





CHAPTER XLI. 

HOME-MADE CANDY. 

E have noticed that in none of the 
books we have seen, which were writ- 
ten especially for the amusement and 
entertainment of girls, has there been 
any directions or recipes for making 
candy. Knowing by experience that 
most girls consider candy-making one 
of their prime winter enjoyments, we 
consider the omission to be quite an important one, and we 
will in this chapter endeavor to supply the much-wished-for in- 
formation. 

Though cooking in general may not be regarded with much 
favor by the average school-girl, she is always anxious to learn 
how to make candy, and hails a new recipe as a boon. 

The following recipes for peanut-candy, butter-scotch, and 
molasses-candy were obtained from a friend who makes the 
best home-made candy it has ever been our good-fortune to 
taste, and as she recommends them, we may rely upon their 
being excellent. We give them, with her comments, just as she 
wrote them. 

Delicious Peanut-Candy. 

Shell your peanuts and chop them fine ; measure them in a cup, and 
take just the same quantity of granulated sugar as you have peanuts. Put 
the sugar in a skillet, or spider, on the fire, and keep moving the skillet 



Home-made Candy. 459 

around until the sugar is dissolved ; then put in the peanuts and pour into 
buttered tins. 

This is delicious, and so quickly made. 

Butter-Scotch. 

2 cups of brown sugar. 
\ cup of butter. 
4 tablespoonfuls of molasses. 
2 tablespoonfuls of water. 
2 tablespoonfuls of vinegar. 

Boil until it hardens when dropped into cold water, then pour into but- 
tered tins. 

Molasses-Candy. 

2 cups of brown sugar. 

\ cup of New Orleans molasses. 

f cup of vinegar and water mixed. 

A piece of butter half the size of an egg. 

When the candy hardens in cold water, pour into shallow buttered tins, 
and as soon as it is cool enough to handle, pull it until it is of a straw-color. 
Splendid! 

Here are two recipes which another friend has kindly sent 
us : 

Chocolate-Creams. 

To the white of i egg add an equal quantity of cold water. Stir in i 
pound of confectioner's sugar. Flavor with vanilla. Stir until fine and 
smooth ; then mould into balls and drop into melted chocolate. 

To melt the chocolate, scrape and put it in a tin-cup or small 
sauce-pan over a kettle where it will steam. Let the chocolate 
be melting while the cream is being prepared. 

Walnut-Creams. 

Make the cream as for chocolate-drops and mould into larger balls. 
Place the half of an English walnut on either side and press them into the 
cream. 



460 JVinter, 



The cream prepared in this way, we have found, can be used 
for various kinds of candy. 

Small pieces of fruit of any kind and nuts can be enclosed in 
the cream, making a great variety. Chocolate may be mixed 
with it ; and if strong, clear coffee is used in place of the water, 
the candy will have the coffee flavor and color which some 
people like. 

Walnut and Fruit Glac6. 

Put I cup of sugar and ^ cup of water in a sauce-pan and 
stir until the sugar is all dissolved ; then place it over the fire 
and let it boil until it hardens and is quite crisp when dropped 
in cold water. Do not stir it after it is put on the fire. 

When cooked sufficiently, dip out a spoonful at a time and 
drop in buttered tins, leaving a space of an inch or so between 
each spoonful. Place on each piece of candy the half of a wal- 
nut, or the fruit which has previously been prepared, and pour 
over them enough candy to cover them, always keeping each 
piece separate. 

Any kind of fruit can be made int© glace. When using 
oranges, quarter them and remove the seeds. Strawberries, in 
their season, and peaches also make delicious glace. 

The remainder of our recipes have been taken from family 
recipe-books, and although we have not tested them ourselves, 
we think it may be safely said that they are good ones. 

Marsh-mallow Paste. 

Dissolve I pound of clean white gum-arabic in one quart 
of water ; strain, add i pound of refined sugar, and place over 
the fire. Stir continually until the syrup is dissolved and the 
mixture has become of the consistency of honey. Next add 
gradually the beaten whites of 8 eggs ; stir the mixture all 



Home-made Candy, 461 

the time until it loses its thickness and does not adhere to the 
finger. Flavor with vanilla or rose. Pour into a tin slightly- 
dusted with powdered starch, and when cool divide into squares 
with a sharp knife. 

Toasted Marsh-mallcws. 

Tie a string on the end of a cane or stick, fasten a bent pin 
on the end of the string, and stick the pin into a marsh-mallow- 
drop. Hold the marsh-mallow suspended over an open fire and 
let it gradually toast. When it begins to melt and run down it 
is done. 

For a small party toasting marsh-mallows will be found quite 
a merry pastime, and a great many persons consider the candy 
much better for being thus cooked the second time. 

Molasses Peanut-Candy. 

2 cups of molasses. 
I cup of brown sugar. 
I tablespoonful of butter. 

1 tablespoonful of vinegar. 

While the candy is boiling remove the shells and brown 
skins from the peanuts, lay the nuts in buttered pans, and when 
the candy is done pour it over them. While it is still warm cut 
in blocks. 

Chocolate-Caramels, 

2 cups of sugar. 

I cup of molasses. 

I cup of milk. 

I tablespoonful of butter. 

I tablespoonful of flour. 

i^ pound of Baker's chocolate. 

Grease your pot, put in sugar, molasses, and mill: ; boil fif- 



462 



Winter, 



teen minutes, and add butter and flour stirred to a cream. Let 
it boil five minutes, then add the chocolate, grated, and boil un- 
til quite thick. Grease shallow pans and pour in the candy- 
half an inch thick, marking it in squares before it becomes 
hard. 

Pop-Corn Balls. 

6 quarts of popped corn. 

I pint of molasses. 

Boil the molasses about fifteen minutes ; then put the corn 
into a large pan, pour the molasses over it, and stir briskly un- 
til thoroughly mixed. Then, with clean hands, make into balls 
of the desired size. 




Saint Valentine. 




CHAPTER XLII. 

Saint Valentine's Day. 

ID it never occur to any of you to wonder who 
Saint Valentine was, and why we should 
commemorate his day by sending cards or 
letters containing all sorts of nonsense, like 
true-lovers* knots, hearts pierced with ar- 
rows, etc. ? 

It is easy enough to tell you about the 
saint, but what he had to do with the popu- 
lar observances of the day dedicated to him is a matter for 
conjecture. 

Saint Valentine, they say, was a grave and earnest bishop, 
who was put to death in Rome on the fourteenth day of Feb- 
ruary, about the year 270 A.D., for his too zealous efforts in 
converting the heathen. When he was canonized, the day of 
the month on which he died was dedicated to him. 

The customs of Saint Valentine's Day are, no doubt, de- 
rived from those practised at some of the Pagan festivals, for 
they are of very ancient origin. In olden times, in England, it 
was kept as a great gala day, and all the houses were decked 
with evergreen in honor of it. Ben Jonson says : 

" Get some fresh hay, then, to lay under foot, 
Some holly and ivy to make fine the posts ; 
Is't not Saint Valentine's Day ? " 



Saint Valentine's Day. 465 

The principal feature of the ceremonies was always the 
choice of a valentine for the ensuing year. The cavalier was 
expected to wait upon his lady, execute all of her commands, 
and act as her escort at all social gatherings. 

The choice of a valentine was generally left to chance, 
one of the methods being that the first unmarried member of 
the opposite sex a person saw on Saint Valentine's morning 
should be his or her valentine. /,^ 

Of course you have all had some experience in sending and 
receiving valentines, and perhaps consider that the only way of 
celebrating the day ; but don't you think it would be a good 
idea to invite some friends to your house and have a 

Valentine-Party ? 

We will give several suggestions upon what to do at a valen- 
tine-party, that you may have some idea how the affair should 
be conducted. 

In the first place, let each guest, upon his or her arrival, de- 
posit a valentine in a large bag placed in the hall for that pur- 
pose. The valentines must be addressed to no particular per- 
son, but the girls should write on theirs, ** To my cavalier," 
and the boys address the ones they send, "To my lady." On 
one corner of each valentine (not the envelope) the sender's 
name must be written. 

When all the gtiests have assembled, someone disguised as 
Saint Valentine, in a skull-cap, long white beard, made of cotton 
or wool, and long cloak, should enter the parlor, carrying on his 
back the sack of valentines. He must stand in the centre of 
the room and auction off each valentine as he takes it from his 
pack. 

All sorts of bids can be made, such as the promise of a dance, 
a necktie, her share of ice-cream at supper, by a girl. A com- 
30 



466 



Winter. 




\».»jvwA 



pliment, the first favor asked of him, a paper of bonbons, by a 
boy. To make fun the bids should be as ridiculous as possible. 
Saint Valentine is to be at lib- 
erty to accept Avhatever bid he 
chooses. The payment of the 
debt must be rigidly exacted 
by the sender of a valentine, 
whose identity is revealed when 
the valentine is opened. 

If unable to comply immedi- ^^S- 379.-Cupid's Bow and Arrow. 

ately with the demand, the debtor must give the creditor a card 
or slip of paper on which is written ** I O U a favor," or what- 
ever it may be that is owed. This I O U entitles the creditor 
to claim payment of the debt at any time during the year. 

Another feature of the party should be Cupid's bow and ar- 
row, which must be suspended from the chandelier or placed 
in some prominent position. The device is to be used for de- 
livering such valentines as may be addressed to particular per- 
sons. The valentine must be stuck onto the 
point of the arrow, and no one may remove it 
save the person to whom it is addressed. At 
any time during the evening the arrow may be 
found to bear a missive, and we would advise 
the hostess to provide a valentine, to be delivered 
in this way, for each of her guests, that none may 
feel neglected. The rest of the party can, to be 
sure, send as many valentines as they like. 

Make Cupid's bow and arrow of heavy paste- 
board, like Fig. 379. Let the bow measure about 
Notch in sixteen inches from tip to tip. Make the arrow 
twelve inches long, with a point or head three 
inches, and the feathers two inches, in length on the outside 
edge. Cut a notch in the feathered end, as shown in Fig. 380. 




Fig. 380, 
End of Feather, 



Saint Valentine s Day. 



467 




Fig. 381.— Man- 
ner of fasten- 
ing Needle in 
Arrow-head. 



Strengthen the arrow by gluing a thin stick of wood along 
it to within one inch of the point. Gild both the bow and ar- 
row, tie a silk cord to the tips of the bow, leaving 
it slack, and force the head of a worsted-needle 
into the point of the arrow (Fig. 381). Adjust 
the arrow by fitting the cord in the notch and 
pulling it back until the cord is taut ; then fasten 
it to the bow by taking a few stitches with yellow 
silk through the bow and over the arrow. Fig. 
382 shows how it should appear when in place. 

To determine how the guests shall be paired 
off for supper, place the names of all the girls, 
written on slips of paper, in a bag ; then let each 
boy in turn take out a slip, and the girl whose 
name it bears he shall escort to the supper-room 
and serve like a true cavaher. 

At a valentine-party the valentines should, if 
possible, all be original, or at least contain appropriate quota- 
tions. The more absurd the rhyme, the more fun it will cre- 
ate, and when one is unable to make a rhyme a bit of prose 
can be made to serve. As 
funny as you please let the val- 
entines be, but remember to 
omit anything that is in the 
least rude, or calculated to hurt 
another's feelings. 

With Saint Valentine's Day 
ends our vacation-calendar and 
with it we also bring this book 
to a close, for a whole year of 
holidays, sports, and entertainments are now contained within 
its covers. If we may hope that our work has not been with- 




Fig. 382— Cupid's Bow with Arrow in 
Position. 



468 



Winter. 



out profit, as well as entertainment, if we have been successful 
in opening any new avenues of enterprise and enjoyment for 
you, we are satisfied. If we have done more, and with any of 
our suggestions have prompted the thought of adding to the 
comfort and happiness of others, we have achieved a success, 
and the mission of the AMERICAN Girl'S Handy Book is 
accomplished. 



INDEX. 



Album, an, 400 
All-Hallow-Eve ; 
Applique designs, 
April, first of, 3 ; 



see Halloween 

391 

April-fool's Day party, 



5 ; games, 6 et seq. 



Back- stitching, 383 

Ball, soft, 327 

Balls, lawn-tennis, 69 

Basket, May, 74; birch-bark, ib.; card- 
board, ib.j crab-net, 97 

Basting, 382 

Bedstead, 444 

Beech-nuts, 220 

Biographical nonsense, 339 

Bladder telephone, 227 

Blind, taught modelling, 257 

Blind-man's singing-school, 155 

Blind-man's stocking, 321 

Bombs, 115 

Bonbon box, 49 

Bookcase, 439 

Bjok-covers, home-made, 401 

Book-mark, 324 

Book-shelves, marine, 94 

Booths at a fair, 413 ; tables for, ib. ; 
flowers for, 417 ; arrangement of, 420 



Botany as applied to art, 139 ; conven- 
tionalizing plant forms, ib. ; the peony- 
leaf, 140 ; a bunch of turnips, 142 ; 
decorative lines, 143 ; cross-section 
plant designs, 144 ; flower-sprays, 146 ; 
changing color and form, 147 ; burs, 
ib. ; water-lily conventionalized, 148 ; 
fern-leaf, 85 

Bouquets, to preserve fresh, 25 

Brackets, 214 

Bradford, Governor "William, 302 

Bran pie, 321 

Brushes for oil-colors, 250 ; for china- 
painting, 270 

Bubble-blowing, 335 

Buckeye Portiere, 204 

"Bunching eggs," 37 

Burgoos, 132 

Butter-Scotch, 459 

Butternuts, 220 

Button, how to sew on a, 386 

Button-holes, 383 

Bureau transformed into a bookcase, 44 1 



Candlestick, marine, 103 
Candy, home-made, 458 
Canvas for painting, 251 
Cards, Easter, 50 
Cards, living Christmas, 342 



470 



Index, 



Chair, 441 ; how to reseat, 442 

Chestnuts, 218 

China - painting, 272 ; materials, 273 ; 
China, 278 ; monochrome painting, 
ib. ; tinting, 273 ; new method of dec- 
orating china, 279 ; tracing, 280 ; mot- 
tled ground, 281 ; snow landscape, ib. ; 
head-painting, 284 ; sea-weed, fish, etc. , 
287 ; mixing colors, 289 ; painting royal 
"Worcester ware, 290 

Chocolate-caramels, 461 

Chocolate-creams, 459 

Christmas festivities, 317 ; customs, 318 

Clay, for modelling, 259 ; how to man- 
age, 261 ; how to preserve, 262 

Clover, four-leaved, 23 

Color painting, 241, 244, 246 

Conventionalized plant forms, 141 

Court, for lawn-tennis, 62 

Cross-section plant designs, 144 

Crystallizing flowers, 21 

Curtain fixtures, marine, 92 



Dancers, fairy, 330 

Darning and mending, 384 

Declaration of Independence, 117 

Decoration, seaside cottage, 92 

Decorations, natural, 201 ; of autumn 
wild flowers, 202 ; buckeye portiere, 
204 ; of horse-chestnuts, ib. ; of corn, 
209 ; ornamental gourds, 210 

Decorative language, 365 ; how to make 
a design in, 371 

Dolls, corn-husk, 169 ; with crab-apple 
heads, 173 ; flower, 175 

Drapery of small scraps, 43 1 

Draw, how to, 229 

Drawing plant forms, 141 



Drawn work, 389 
Dressing-table, 444 



Easel, 250 

Easter, 33 ; how celebrated in England, 
ib. ; in Russia, ib. ; in Ireland, 34 ; in 
Germany, 35 ; in Washington, D. C, 
ib. 

Easter cards, 50 

Easter eggs, 33 ; games with, 36 ; dolls 
made of, 39 ; toys formed of, 42 ; 
maple wax eggs, 49 ; bonbon box, ib. 

Enchanted girl, pantomime of, 348 

Exercising, best time for, 353 ; balancing 
weights on the head, 356 ; broom-han- 
dle exercise, 357 



Fairy dancers, 330 

Fan, how to make a, 177 ; butterfly fan, 
178; Mikado fan, 180; daisy fan, 182; 
card-board fan, 183 

Felling, 383 

Ferns for decoration, 19 

Fid, 57, 161 

Five minutes' conversation, 154 

Fish-painting on china, 286 

Floral vocabulary, 377 

Flowers, wild, 14 ; transplanting, ib. j 
how to keep cut, 15 ; sending by mail, 
16; preserving, in sand, 16; pressed, 
18 ; herbariums of, 19 j for decoration, 
ib. ; color of, changed, ib. ; waxed, 20 ; 
to freshen cut, ib. ; crystallized, 21 ; 
frosted, ib. ; perfume of, preserved, 
ib. ; spring flowers in winter, 23 ; pre- 
serving, in alcohol, 24 ; in an empty 
bottle, ib.; under glass, ib. ; to keep 



Index. 



471 



bouquets fresh, 25 ; to keep flowers or 
fruit fresh for a year, ib. ; painting, in 
water-colors, 239 
Fortune-telling, by melted lead, 190 ; by 
nutshell boats, 192; by "three lug- 
gies," 193; by roasting nuts, ib. ; 
Kaling, 194 ; by the magic mirror, ib, ; 
by three tin cups, by the ring cake, 

19s 

Fortune's wheel, %%, 426 

"Fore-shortening," 231 

Fourth of July, celebration, interior dec- 
oration for, 107 ; indoor illumination, 
108; outdoor decoration and illumina- 
tion, 109 ; fireworks for girls, 1 1 1 ; 
parachute, 112 ; thunderbolts, ib. ; 
whirls, 113 J winged fancies, ib. ; pin- 
wheels, 114; bombs, 115; lawn party, 
117 ; declaration of independence, ib. ; 
game of toss, 118 ; jackstraws, 119 ; 
progressive mining, ib. 

Frames for pictures, 295 ; designs for, 
296 ; decorated, 297 ; cork frame, 299 

Furniture, old and new, 438 



Game of headless turkey, 312 

Game and fish stew, 133 

Games, quiet, for hot weather, 151 ; door- 
step party, 152 ; five minutes' conversa- 
tion, 153 ; blind-man's singing-school, 
155 ; game of noted men, ib. ; what 
will you take to the picnic? 156; as- 
sumed characters, 157 ; shadow verbs, 
ib. ; Halloween games, 196 et seq. 

Games for Christmas holidays, bubble- 
bowling, 335 ; biographical nonsense, 
339 ; comic historical tableaux, 341 ; 
living Christmas cards, 342 



Gathering, 382 

Glass, stained, imitated, 435 

Glove pen-wiper, 323 

Glove, to mend a kid, 386 

Gold, mat, 276 ; pure, ib. 

Gourds, ornamental, 210 

Grab-bags, 423 

Ground glass, imitation of, 436 

Gymnasium, home, 353 

H 

Hall seat, 447 

Halloween, 187; origin of, ib.; party, 
189 ; fortune-telling on, 190 et seq.; 
games, 196 et seq. 

Hammock, how to make a, 159 ; materi- 
als required, i6t ; barrel hammock, 
165 

Hat-rack, seaside, 98 

Hazel-nuts, 220 

Headless turkey, game of, 312 

Hemming, 381 

Heraldry, 366 ; field of, 266 ; the points, 
ib.; divisions, 267 

Herbariums, 19 

Herring-bone stitch, 384 

Hickor}'-nuts, 219 

Historical tableaux, 341 

Home gymnasium, 353 

Home-made candy, 458 

Horseshoe crab-bag, loi 

"HuliFool,"4 



Impression album, how to make an, 123 ; 
tools required, 125 ; printing from 
leaves, 126 ; from flowers, 127 ; land- 
scapes, 128 ; other uses for botanical 
impressions, 129 



472 



Index. 



J 


a teacher, ib. ; materials, ib. ; clay, 260 ; 




general directions, 261 


Jackstraws, Fourth of July, 119 


Modelling wax, 263 


Julklapp, 319 


Modelling stand, 260 


K 

Kaling, 194 


Molasses candy, 459 


Monochrome painting, 278 


Key-rack, 412 


Music-roll, a, 410 


L, 


i N 


Lace, 393 


1 


Lady of the Lake, 425 


Nancy, Miss, 326 


Landscape painting in water-colors, 241 


Nature's types, 125 


Language, a decorative, 364 


Needle, hammock, 58 ; 161 


Lantern, 408 


Needle-work, 380 


Lawn, painting on, 434 


Net, lawn-tennis, 57 


Lawn party, 117 


New Year's Day, 347 ; New Year's par- 


Lawn-tennis, 55 ; lawn-tennis suits, 56; 


ties, 348 


how to make a lawn-tennis net, 57 ; 


Noah's ark peep-show, 8 


materials for, ib. ; court, 62 ; rules for 


Nutting parties, 218 ; rules for, 221 


the game, 63 ^^ 




Leap-year party, 351 





Leaves and ferns for decoration, 19 




Light, 252 


Overhanding, 380 




Oil-cups, 251 


M 


Oils for china-painting, 275 


Mailing parcels, directions for, 16 


Overcasting, 380 


Mantle-cloth, 454 




Mantle-piece, 451 


P 


Maple-wax Easter eggs, 49 


Paint-box, 251 


Marsh-mallow paste, 460 ; toasted, 461 


Painting in water-colors, 238; materials 


Mat colors, 277 


for, ib. ; flower-painting, 239 ; model, 


May Day, 71 ; sports, 72 ; May baskets. 


240 ; landscapes, 241 ; general direc- 


74 ; May-pole, 77 ; May-pole dance, 79 


tions, 242 ; painting from notes, 244 


Midsummer Eve, 83 ; the games of, 85 


Painting in oil-colors, 249 ; materials, 


et seq. 


ib. ; the light, 252 ; setting the palette. 


Mirror tableau, 6 


253 


Mirror, the, 404 


Painting on lawn, 434 


Model, arrangement of, in water-color 


Painting window-panes, 432 


painting, 240 


Paints, for china-painting, 274 


Modelling in clay and wax, 257 ; value 


Palette, 250 ; setting the, 253 


of, 259 ; much can be learned without 


Palette-knife, 250 ; of horn, 273 



Index. 



473 



Panel decorations, 205, 209, 270 


Rubbish, what to do with, 403 


Panel of field-corn, 209 


Running, 382 


Pantomime of an enchanted girl, 348 




Paper-weight, 412 


s 


Parachute, 112 


Party, First of April, 5 ; Fourth of July, 


Sachet, 323 


117; door-step, 151 ; Halloween, 189; 


Saint Valentine's Day, 464 


nutting, 218 


Scrap-bag, 324 


Paste, how to make, 402 - 


Scrap drapery, 431 


Patch, how to, 386 


Scrap-book, 395 


Peanut-candy, 458 


Screen, m?rine, 99 ; Louis Quinze, 206 


Peanuts, 223 


Settee, 442 


Perfumes, to prepare from flowers, 21 


Shells, how to polish, 104 


Picnics, burgoos and corn-roasts, 131 ; 


Shelves around chimney, 456 


how to make a burgoo stew, 133 ; a 


Siccatif Courtray, 253 


corn-roast, 134 


"Silly mackerel," 4 


Picture-frames, 295 


Spring flowers in winter, 23 


Pilgrims, landing of, tableau, 305 et seq. 


"Squirrel, little brown," 218, 221, 222 


Pin-wheels, 114 


Stained glass, imitation of, 435 


Plain sewing, 380 ; overhanding, ib. ; 


Starfish, candlestick ma'(ffe' of, 102 ; orna- 


overcasting, 381 ; hemming, ib. ; run- 


ments of, 103 ; how to -dry, 104 


ning, 382 ; basting, ib. ; gathering, ib. ; 


Stitches, fancy, 387 


stitching, 383 ; back-stitching, ib. ; fell- 


Stitching, 383 


ing, ib.; button-holes, ib.; herring- 




bone, or cat's- tooth stitch, 384 


T 


Plantain test, 86 


Plaster casts, 268; to harden, 270; to 


T-square, 234 


color, ib. 


Table, a bric-a-brac, 406 ; at a fair, 413 


"Foissond'Avril," 4 


Tableau, mirror, 6 


Pop-corn balls, 462 


Tableaux, burlesque, 304 ; historical, 341 


Portieres, designs for, 391 ; buckeye, 204 


Tar paste, 275 


Postal regulations for packages, 16 


Telephone, how to make a, 224 


Progressive mining, 119 


Tent, illuminated, iii 




Thanksgiving, celebration of, 302 


R 


Thunderbolts, 112 


Tiles, painted on marble mantle, 453 


Rag-balls, 427 


Tin telephone, 225 


Ribbon embroideries, 393 


Tints in water-color painting, 242 


Ribbon curtain, 430 


Toss, 118 


Rooster, a lively, 327 


Tracing, 280 


Rosewater, recipe for, 26 


Transformation scrap-book, 398 



474 



Index. 



u 




Walnut-shell turtle, 325 


Urchin, sea, vase made of, 


[02 


Wash stand, 446 
Water-colors, 238 


V 




Wax-modelling, home-made, 263 
Wedding decorations, wild flowers for, 


Valentine party, 465 
Vase, marine, 102 

w 

Walking Club, the, 27; 
of, 30 ; length of walks, ib 
observed, 31 


membership 
. ; rules to be 


202 
Whirls, 113 
Wild flowers, 13 
Window decorations, 92 
Window-panes, decoration of, 432 
Window- seat, 448 
Winged fancies, 113 
Work-basket, crab-net, 97 


Walnuts, 220 




Work-basket, 411 


Walnut creams, 459 j glace. 


460 


Worcester, royal, ware, 290 



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